In 1995 Fugazi released Red Medicine which to us here at AD was a radical shift in the band’s recorded trajectory. The arrangements grew more complex, the studio-as-instrument ethos becoming fully realized with more extreme textures. From lo-fi abstractions to widescreen feedback, to moments of tender beauty, the overall feel of the album felt more personal, even down to the packaging itself.

Styrofoam Winos—the Nashville-based trio of Lou Turner, Trevor Nikrant, and Joe Kenkel—follow up their 2021 self-titled debut with Real Time, an endearing and invigorating collection of shaggy southern rock and dusty, woolen folk. With a lo-fi, ambling ease, they cruise through road-weary choogles; swampy, faded funkers; harmonica swept confessionals; and meditative, noodling jaunts through the passage of time.

A fine fit for the coming turn of the season, Brazilian singer and guitarist Werther’s 1970 self-titled album is a warm and inviting document of gentle, airy bossa-nova, the music lively and eclectic with folk and Tropicália inflections and adorned with sumptuous orchestral arrangements and choral gatherings.

Before the explosion of city pop, before shibuya-key and Tokyo’s collectors mania, there was already Mangekyou itself, the 1975 debut record from Yoshiko Sai, then just a 22 year old dropout from the art school of Kyoto. Approaching the 50 year anniversary of Sai’s legendary debut, WEWANTSOUNDS has announced a reissue that will see the album available outside of Japan for the first time ever.

Chu Kosaka’s Arigato is wide-open pastoral bliss. The natural extension of Happy End with a bit more of a singer-songwriter orientation, Kosaka pieces together what could be the finest example of American country rock through the lens of a Japanese perfectionism. Don’t let that fool you. The tunes are loose.

YaneUra Oct. ‘80 is their latest release, which bridges the gap between the classic Live ‘77 and the recently unearthed CITTA’ ‘93, which was released for the first time in 2023.

Arriving after a four-year gap, the latest album from the acerbic Canadian indie rock band reveals a group in a state of graceful turmoil and artistic ferment. A work of stoned eschatology involving Yeats, Pushkin and a jet-ski-racing game for the N64, The Neon Gate finds Nap Eyes scattered but not disenchanted, committed to finding new ways to sound exactly like themselves.

It’s been long enough. This is the album we’ve been waiting for Christopher Owens to make for over a decade… as bold and beautiful and great as any one of the immortal Girls records.