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With 'Cosmic Flute Rides Again, NTHNL comes up with something that's much more than just another New Age album.
When jazz pianist Vince Guaraldi released his soundtrack for A Charlie Brown Christmas back in 1965, he probably never thought that this holiday special would become one of the best-selling jazz albums of all time.
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On 'Midnight Crisp' trumpeter Takuya Kuroda truly delivers excellent modern jazz fusion that doesn’t shy away from combining jazz and hip-hop in all its forms and guises.
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On 'Between All Things,' through their ambient approach, OHMA is able to aurally fill the gap between all things, real or imagined.
Clearly inspired by YouTube, Disney has just released an album of 10 lo-fi instrumental covers of some of their most classic songs, like "Hakuna Matata" and "Into the Unknown."
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The Color of Cyan proves with their latest album, 'Agape', that there's still life in guitar-driven post-rock.
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On 'Tancade,' Gaspar Claus delivers a truly cleansing musical experience, all with the use of one instrument, his cello.
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Moon and Bike deliver mood music that really works without crossing the border into kitsch, on their debut album, 'One.'
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On 'Offworld Radiation Therapy,' Memnon Sa delivers a musically credible futuristic vision of a utopian-like world.
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On their new single, "What You Need It For", India's Ioish deliver something exciting and stay true to the post-rock/prog path they have taken from their start.
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On 'Arkinetics,' drummer/composer Dan Kurfirst goes beyond just a set of rhythmic patterns and delivers something compelling.
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With 'Backyard Astronomy' Chris Forte shows what a varied and inspired guitar album can sound like.
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On 'SE3' Spencer Elliott and his trio show that finger picking acoustic guitar isn't all pastoral and quiet.
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On 'Catharsis,' Vancouver's Marc-E, blurs the lines between the genres of instrumental music to great success.
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Disaster Relief covers a wide musical field on 'Back Into It' - from soul/funk to various strands of world music, and it's all stuff you'll find yourself putting on repeat.
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Ryan Dugré delivers an acoustic guitar album that is neither Fahey-style, modern classical, nor New Age, but all of those in the best sense of what they are supposed to be.
