Archive for the New Stuff / What’s On Sale Category

After 10 years producing and recording albums for Brooklyn Rider and Yo-Yo Ma’s Silkroad Ensemble, Johnny Gandelsman releases a debut solo album. Bach’s Sonatas and Partitas for violin solo are a magnificent repertoire for Gandelsman’s interpretations, which draw on his experiences with Silkroad, Brooklyn Rider, dance and non-classical musicians to add rich layers to Bach’s music. It’s an epic feat to attempt, but Gandelsman has created a mesmerizing, memorable marathon here, brimming with genial freshness and unaffected sincerity.

Winning Hand, the new album from Tinsley Ellis on Alligator Records, is the veteran bluesman at his finest as a songwriter and guitarist. The epic six-minute slow blues “Gamblin’ Man” is alone worth the price, but the album is packed with hard-hitting, groove-driven electric blues. In the very first track an unexpected key change introduces a wailing guitar solo that brings Jimi Hendrix to mind, and throughout the album Ellis’s titanic, elemental solos cut like a leopard’s fangs.

A timeless yet specific reflection on empathy and loss, Sufjan Stevens’ 2015 album Carrie & Lowell stripped away many of the singer’s flourishes to reveal something barren and reverent, compassionate and utterly human. Writing in the wake of his mother’s death, Stevens used Carrie & Lowell to grapple with their fraught and often absent relationship, only to locate pathways to empathy and forgiving kindness.

Few would have predicted Chris Stapleton’s dominance earlier this decade, but he’s commanded the spotlight for long enough now — through show-stealing televised performances, major awards show wins and enviable album sales —to bring what it is about him that people are responding to into focus. The 39-year-old Kentucky native relies on Dave Cobb, Nashville’s leading studio naturalist, to capture the leathery twang and blues-basted analog brawn of his power trio, in which it falls upon Stapleton to supply both sinewy rhythm guitar and snarling lead licks

The last material we heard from Björk was a bit of downer, wasn’t it? 2015’s ‘Vulnicura’ was a sweeping, majestic break-up album that saw her creating a raw, emotive narrative within her otherworldly soundscapes. It was incredible, but damn it was gloomy. Happily, the febrile ‘Utopia’ sees her on more upbeat – but no less creative – form, coming on like new age titan Enya if she signed to Hyperdub,

When Sharon Jones died of pancreatic cancer last year, the world lost its greatest exponent of vintage soul; that she’d first hit her stride in the ’00s with the revivalist, detail-obsessed Daptone label, made the accomplishment all the more striking. Recorded over her last two years with longtime sidemen, genre-masters all, Jones meets darkness with hope on this denouement. “A Matter of Time” envisions world peace; “Come and Be a Winner” is a funky pep talk.

Indie queen Angel Olsen has come a long way from her days as part of the Cairo Gang; her legion of fervid fans steadily growing with each subsequent release. It’s a trajectory that mirrors the evolution of Olsen’s sound—and the size of her band—from the stark, indie-folk of 2012’s Strange Cacti, to the expansive, swirling soundscapes of last year’s My Woman. It was My Woman—with Olsen trying on everything from synthy, dream-pop (“Intern”) to Rumours-era Stevie Nicks (“Sister”) and realizing they all fit perfectly

Tragic love, drug abuse, science fiction, and Americana: Blitzen Trapper managed to squeeze all that, and more, into their rock opera, Wild and Reckless, which was produced for the stage in their hometown of Portland, Ore., earlier this year. But that wasn’t enough for frontman Eric Earley and crew. Taking seven of the songs from the play and fleshing them out with five new numbers, they assembled an album of the same name.

The 22-year-old songwriter Julien Baker sees this not so much as an impossibility as a challenge to reconcile, daring her to make music in which she turns herself inside out. Her songs are sparse, internally focused, and radically intimate. “I know that you don’t understand, ’cause you don’t believe what you don’t see,” she sings on “Shadowboxing,” a particularly arresting song off her new album, Turn Out the Lights. Baker’s songs are relentlessly sad but bleakly hopeful, if only for the reason that, if we are listening to them,