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After releasing two cassette EP's in 2020 (on Popwig and Born Yesterday respectively), Dummy's debut full-length album arrives via Chicago's Trouble in Mind Records. Employing pummeling guitars and celestial ambience within the same breath, the band folds a myriad of reference points into their drone-pop style. Influence from '60s melodicism and '90s UK noise pop can be found woven in with inspiration from spiritual jazz, Japanese new age, and Italian minimalism.Dummy dodges the brooding, dark, dramatic tropes of contemporary \"artistic\" music often found in punk, experimental, and electronic, instead insisting on joyous and euphoric sonic palettes. They refuse to be artistically stagnant, continuously shifting their approach to writing across 12 tracks. Shaped by performances around Los Angeles in 2019, songs like \"Daffodils\" and \"Fissured Ceramics\" feature relentless driving energy and ample psychedelic noise. 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Think of the seminal 1993 East LA film Blood In Blood Out - three protagonists bound together through hardship, strife, and diverging roads, who ultimately circle back to reckon with why they remain. It's a similar story here. Love Stories isn't interested in the happy ending. It's interested in everything that comes before it, after it, and in spite of it.Of course, none of this is accidental. More than a new record, Love Stories is a portrait of a band that has finally grown into itself - one that knows exactly who it is and isn't shy about saying so. As Quiñones puts it: \"It's a solidifying statement of where we are now. 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With that foundation in place, the band handed the final mix to engineer Kelly Finnigan. \"We could get so far with our opinions,\" Quiñones admits, \"but at the end of the day there's still 10 or 11 of us trying to figure out what's right.\" The band also leaned into earthier instrumentation - standup bass, guitars run through amplifiers for a warmer sixties-adjacent tone - pulling inspiration from wherever it presented itself, even the most unlikely of places. It's that cross-genre thinking that Quiñones sees as the record's defining quality. \"It didn't feel like we were making soul music at any point,\" he says. \"It felt like we were making our music.\"But the sonic ambition of Love Stories only tells half the story. The band sought to capture something more honest than a highlight reel - showcasing the highs and lows of romantic relationships while expanding the frame to include the familial, the complicated, and the unresolved. On \"Let's Fall In Love (Again),\" Quiñones's protagonist pleads for a second chance before stopping mid-song to acknowledge his own role in the heartbreak - trading wishful fantasy for something far more honest. It's that kind of emotional candor that runs throughout the record. The band's parents appear in the album art, their own love stories folded into the record's visual identity, some of those stories still standing, others not. As Manjarrez puts it: \"Every single song title directs you down a different road of love - whether you win or lose.\" Quiñones wanted listeners to sit with that ambiguity. \"Love is never-ending,\" he says. \"It stretches beyond lifetimes. 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The album itself is a masterpiece in sound collage and experimentation, with tracks like \"Tetra\" and \"Sleep Synth\" shifting from minimal auditory sensations to a clobbering, grotesque cacophony. The album's closing track, \"In Heaven,\" is a beautiful rendition of Peter Ivers' original composition, with Stewart's delicate and soft vocals showcasing the elegance and wonder found on Lynch's directorial-debut. Eraserhead's original sound design and score by Alan Splet and Lynch guide Xiu Xiu's expanded interpretation, reflecting their influence as fans and musicians. The original film gives birth to Xiu Xiu's visual lens through which to be baffled and pummeled by the band's imaginary unused auxiliary footage.Is it a short term art installation, an exploded tribute to a cinematic triumph, epitaph to an idol, via an entirely new work? YES. Is it intense, odd, curious, and shrouded in the gloomiest of nights? OF COURSE. 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Performed live on a solitary sampler in a single take, the album shifts from warp-speed blasts of glitch to iridescent jazz fusion piano sketches to expanses of ecstatic synthesis. Allison's improvised approach to live sound collage blends innumerable layers of texture and oblique harmony into a continually thrilling electro-acoustic mosaic. Each track begins as a bank of samples sourced from Allison's collection of synthesizers, drum machines, and field recordings, arrows pointing in a direction but without established counterpoint. Spontaneity, and the sometimes chaotic juxtapositions it engenders, undercut any traces of machine logic in the music as it expands and contracts organically. It is the product of hands moving in real space, in real time, for an extended period. Juckport is animated by a duality of glitched-out abstraction and intangible bliss. 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Marco Benevento has always moved like someone who understands the studio as it's own instrument, not just a room where the toys are. Long before he began appearing on stages with Freddie Gibbs and Madlib, and in the liner notes of albums by Clairo and Leon Bridges, Benevento was already thinking like a producer - listening for texture, tension, and negative space, and for the strange emotional alchemy that occurs when groove and curiosity collide. His new album Glera sharpens that instinct into focus, presenting Benevento not only as a virtuosic keyboardist and bandleader, but as a composer building worlds from rhythm, tone, and feeling.Glera is a genre-bending jazz record that folds in soul and reggae's elastic low end with an open-door sense of possibility. The project began three years ago as a kind of private exercise, with Benevento writing intuitively, inspired by Italian film scores and melody. Over time, those sketches evolved into something broader and more muscular, culminating in the grand majesty heard here. What emerges is music that moves cinematically without becoming precious. Tracks can feel like chase scenes or slow dissolves, sometimes within the same song, with jazz improvisation sharing space alongside reggae pocket, orchestral elements, and psych-pop atmosphere. It's exploratory but grounded, complex yet unmistakably groove-forward.Album opener \"Frizzante\" is pure musical celebration captured on tape - a high-energy, feel-good banger that finds Marco trading melodies with himself over a relentless groove. On \"Turandot,\" Benevento is joined by Italy's own Marianne Mirage on vocals; the haunting, cinematic track sits comfortably between the worlds of Portishead and Serge Gainsbourg. Then comes \"Big Top,\" stretching the album's palette even further; equipped with voice memos and peacock calls, it's most aptly summed up as \"circus funk.\" Blow the whistle and the game begins with the jazz-fusion-esque dancefloor filler \"Houdini,\" a kick-in-the-door burner from the very first drumbeat. Blending dream pop into the mix on \"I Can't Control This Bliss,\" Marco invites Dream Crease to the microphone for a dose of lo-fi gorgeousness. Elizabeth Steiner brings her storied harp work to \"Miss Neptune\" over a deeply vibey, reggae-influenced backing track. Putting the pedal to the metal, \"Sprezzatura\" plays like a high-speed pursuit through narrow streets, while \"Quattro Passi\" brings the pace down to a saunter, featuring jazz vocalist Chiara Civello.Marco Benevento is operating at the highest level, shaping sound with purpose and curiosity. This album announces itself loudly-both outward-facing and deeply intimate. 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Born in Sapporo, Hokkaido. Graduated from Musashino Art University and completed graduate studies at Tokyo University of the Arts.In 2010, she began her career after hearing a comment from her university teacher.In 2012, she made her debut with her first album, 'Shibata Satoko Island, ' produced by Hiroki Misawa and featuring multiple tracks. Since then, she has expanded her activities to include singing, such as the hour-long monologue-like work 'Tanomosi Musume' at the theater festival Festival\/Tokyo 13, and has released eight albums to date.In 2016, she published her first poetry collection, 'Desert.' In the same year, she won the 5th El Sur Foundation Newcomer Award in the Contemporary Poetry category. She has also contributed many essays, poems, and picture book stories. In 2023, she published a collection of essays, 'Kiregire no Diary, ' a compilation of her serialization in the literary magazine 'Bungakukai' over a period of seven years. 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The whole album was made remotely:Haram cooking up beats in Brooklyn and sending them to Sha Ray, who would sendback demos and notes. They got to know each other as artists, and as people, while theyworked on this project.\"Haram and I have had so many overlapping experiences working as women in themusic industry, which really enriched our bond. That, and her very striking approach toproduction, really inspired a lot of the writing on this record,\" Sha Ray says.That writing is razor sharp and refreshingly direct. Sha Ray quickly proves herself to bein a class of her own, navigating even the knottiest of DJ Haram productions withouttaking her foot off the gas. Haram digs deep into her bag with beats that run the gamutfrom experimental and abrasive to slinky fun to darkly foreboding. Percussive thuds andshots are layered with intricate details and soft linings. A trappy banger dissolves intoa flood of strings. 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