Lars Gotrich

Sarah Davachi's electro-acoustic compositions seek the corners of quiet with a studious and patient curiosity. Gave in Rest, her second album of 2018, takes its inspiration from early church music, in particular "the quietude, the air of reverence, the openness of the physical space, the stillness of the altars," she writes in a press release. From "Matins" (morning prayers) to "Evensong" (evening prayers), the L.A.-based composer fills the day with moments of peace.

DAWN has a breathless enthusiasm for shape-shifting pop music. Her discography is a bedazzled collage of heart-bursting rave and extraterrestrial dance-pop — but for her Tiny Desk, the L.A.-based singer and producer strips three songs to just the essentials, illuminating the impeccable songwriting behind the wild combination of sounds.

The world is going to hell, and Tim Kasher is doing everything he can not to be swallowed up by the chaos.

Look, if you're going to make a music video warning about developing a God complex, you might as well load it with tons of biblical imagery and over-the-top CGI.

High On Fire helped usher heavy metal into the 21st century. When the band began in 1998, the scene was adrift in all things "nu," which undeniably left its mark on young listeners, introducing them to more extreme sounds. But those who carried the torch for metal — the kind handed down from Black Sabbath and Motörhead — kept the sound alive and thriving, even if only the dedicated few listened.

It's been four years since Magda Davitt, the artist formally known as Sinead O'Connor, released I'm Not Bossy, I'm the Boss. Today she offers "Milestones," produced by the Northern Irish electronic producer and film composer David Holmes, exclusively via The Irish Sun.

Though Neneh Cherry never really left music, her return as a solo performer in the last half-decade has been a reminder of the Swedish musician's remarkable elasticity.

Tim Hecker comes from a long line of unlineal composers, like François Bayle and Daphne Oram, where a source material — be it guitar, piano, synths, field recordings — is manipulated into new shades of sound via digital processing.

Somewhere between dusk and nightfall, there's a point when the sky's deep reds and luminous notes of peach bleed into deep blues and silhouetted skylines. It's a somber, meditative medley of color, when the reflection of day turns dim; that's where the new record by Patrick McDermott, who records instrumental guitar music as North Americans, rests.

Nathan Bowles' clawhammer banjo music has always lived in three planes of existence: Rooted in the past, with a foothold in the present and an eye on the future. But as much as we think about folk music speaking across time — its seeking melodies and lyrics ever-resonant — Bowles wants to pluck sound from space itself.

You're at a party and see your old boo (with a new boo), who is looking very fine. When you go in for the obligatory hug, it brings up aaaalllll of the feels — that weekend at the cabin, the six-week anniversary dinner that was totally unnecessary but still very sweet, that one shirt you like.

The eternally smiling D.R.A.M. knows that feeling, and the smoove synth-bop "Best Hugs" lays it all out: "Reminiscing about those days take me / Back to the days when she drove me crazy."

There's a dancing bear slapped on the back of a station wagon cranking out a copy of Europe '72 — it's no deep dive from one of Dick's Picks, but it's a solid collection of live sets, with Grateful Dead at the top of its game. You exchange eyes with the driver, acknowledge the good-times jams, and counter with a '77 date. Soon enough, you're holding up traffic, but the songs keep on truckin'.

The Tree of Forgiveness, his first album of originals in 13 years, is not just classic John Prine. When so much of humanity seems closed off, Prine knows when to be a little goofy, too.

Pages