Music

Joan As Police Woman Reimagines the Past and Present

Lambchop’s ‘Punching the Clown’ Is Worth the 4-Year Wait

Eliza Carthy and the Restitution – “Mr Sits in the Dark”

Avi Engel’s Poetic Soundscapes Repay Close Listening

Brazil’s Maria Luiza Jobim Opens New Doors with ‘Rosa No Céu’

Review: Adios Ke Aloha: Waves of the Same Sea by Los Cenzontles

Steely Dan’s The Royal Scam at 50

Review: “A Perfect Place” by Lemoncello

Review: “Songs of Compassion” by Dorothy Moskowitz and the United States of Alchemy

Youn Sun Nah Sings Beyond Jazz on ‘Lost Pieces’

Review: “Un Dimanche á Monaco” by Tako Toki

Concert Review: Youn Sun Nah Featuring Bojan Z, Hong Kong City Hall Concert Hall, May 1, 2026

Review: Dominique Cravic et Les Primitifs du futur “Les Crimes du Mussette”

Review: Tiny Sun “Vanishment”

Review: Nilza Costa “Catigas”

Looking Into the Composer’s Atelier

Ólafur Arnalds Creates Past Songs for the Future

Is Ludovico Einaudi Overrated or Misunderstood

Souad Massi’s Latest Explores New Franco-Arabic Blends

Review: Braziliano by Lucas Santtana

The Fillmore: End of a Musical Era

Review: Emi Makabe’s Echo

Fado: Soundtrack of the Portuguese Soul

From the Warsaw Ghetto to the Future of Music: A Review of Hania Rani’s Non Fiction

Are Songs Literature: From Dylan to Richmond Fontaine

Disobedience Required: A Review of Cristina Branco’s Mulheres de Abril 

Review: Where to From Hildur Guðnadóttir Returns to the Silence With Her Most Personal Work Yet

The Alchemy of Song Greatness: “Walk Away Renee” Great songs are not magic; they are sleight of hand

Review: Yamoto Drummers of Japan, Hong Kong Cultural Centre, November 8, 2025

Here Are Some Melody Gardot Essentials To Enjoy While We Await Her Next Album

Al Stewart’s The Year of the Cat re-imagined as film noir