Elijah’s Top 5:

Antónima, Sofía Rei (GroundUp Music). My favorite singer returns, collaborating once again with multi-instrumentalist J.C. Maillard, as well as a slew of guests that compliment Rei’s sound and energy perfectly. Danceable, heartfelt, catchy, with just the right amount of strangeness, altogether making for a wondrous listen.

Devoid of Thought, Devoid of Thought (Unorthodox Emanation). A splendid example is an extreme metal band that understands how to extend their idea of “extreme” beyond aggression, taking their cosmic themes into the realms of ambience and free jazz.

Theos-Vel-Samael, Ain Sof Aur (I, Voidhanger). A worthy addition to the world’s canon of long-form black metal, this 3-track album exhibits the care and consideration of classical composition through the riffs, moods, and melodic sensibilities of esoteric, occult metal.

Unadulterated, Roman Candle (Sumerian). Roman Candle paints with a broad palette, bringing feminine punk aggression and hardcore-style songwriting together with metal musicianship and melancholy atmospheres, putting emphasis on sincere emotions brought forward by shifting styles and moods.

An Unnameable Desire, Plini (self-released). The prolific Australian solo guitarist Plini continues to expand his sound on this latest release. Reaching his gentlest jazz expressions while also achieving his heaviest, most crushing moments, this latest full-length reminds us that Plini has one of the most singular musical voices on his instrument in the current day.

Adriane’s Top 5:

Adouna, Cheikh Ibra Fam (Cumbancha). Formerly of Senegal’s Orchestra Baobab, Cheikh Ibra Fam tells his own stories of roots and resilience through mbalax, makossa, and even shades of amapiano on sophomore release Adouna. A world of influences from Youssou N’Dour to Otis Redding and well beyond are audible in his soulful delivery here, which, in conjunction with the pan-African pop sounds, makes for an engaging album.

Las Cruxes, Las Cruxes (Million Stars). Lo-fi garage rock is alive and well in the form of Las Cruxes, whose movements from Mexico City and California to Nebraska landed them in the perfect spot to produce their self-titled third album on fellow Omahan artist Conor Oberst’s Million Stars label. Rather than sounding like a throwback to oughties indie, though, Las Cruxes‘ hooks and riffs are sincere and engaging, and lead singer Yayo Trujillo’s gravelly voice refreshingly earnest.

Indigo Garden, Black Nile (Mass MoCA). West Coast jazz duo Black Nile flows with a singular beauty on Indigo Garden, a fluid show of Aaron and Lawrence Shaw’s individual skills and collaborative chemistry. There’s an experimental spirit here, but it never feels haphazard. Rather, this is thoughtful, present work with luscious results.

Tartite, Moussa T (Mixto). With guitar skills nurtured by Bombino and a tender storytelling style, Moussa T makes impassioned and skillful music on Tartite, an album that calls to mind a range of Saharan rock and pop stars. Certain production elements–deliberate auto-tuning, synthesizers, drum machines–give the album a youthful, DIY touch that sets it apart from other contemporary tishoumaren acts.

Wendy Eisenberg, Wendy Eisenberg (Joyful Noise). Wendy Eisenberg is almost impossibly well balanced as a singer-songwriter. On their new, self-titled release, dazzling wit coexists with humble vulnerability, wonder is a grounding thing, and keen observations yield not cynicism but warmth. The reflections here are not navel-gazing, but neither are they too airy. Eisenberg makes the quotidian a genuine treasure.