With Trevor Dunn and Danny Piechocki now backing him, Shane Parish returns to his Ahleuchatistas re-invigorated and ‘Expansion’ more than justifies the return of this creatively nonconformist band.

The only reason to return to the visceral hysterics of ‘The Texas Chainsaw Massacre’ is that Tobe Hooper’s film transcends into a kind of poetics of evil.

With ‘Midnight Crisp,’ trumpet ace Takuya Kuroda once again creates music that makes new converts to jazz from the young and gives long-time jazzheads a fresh new perspective on an old genre.

Remember when Led Zeppelin’s “Stairway to Heaven” was fresh to you? That’s how it felt 10 years ago today on ‘Celebration Day.’

Michael Salvatori’s ‘Waiting For Autumn’ will appeal to lovers of Mike Rutherford’s ‘Smallcreep’s Day’ and the more acoustic music from Anthony Phillips.

As ‘One More, Please’ makes evident, Tim Berne and Matt Mitchell can keep their collaboration going for a long time because their collaboration never moves beyond the discovery phase.

Television has offered me the opportunity to discover a batch of cool songs from the likes of Tame Impala, Junip, Library Voices and others.

Radiohead self-released ‘In Rainbows’ 15 years ago this week after an annoying promo campaign that nearly ruined the album for me.

John Escreet’s first trio album ‘Seismic Shift’ is that rare record where both massive chops and innovative harmonic ideas both come in spades.

Country songs were seldom this brazen, especially those recorded by its female stars – and many radio stations banned Loretta Lynn’s “The Pill.”