FAILURE, Location Lost (Arduous Records). An earnest recording from a legendary band. Full of solid rhythms, great playing, and a bit of a punk attitude. Brings bands like Fugazi and Slint to mind without actually sounding like either of them. Failure is its own entity. It’s our job to join in and keep up.

SQUAREPUSHER, Kammer Konzert (Warp Records). If Frank Zappa brought one of his symphony projects to Squarepusher and asked him to add some complex rhythms by way of drums and electronics, it might sound a little something like this. Abstract, rhythmic, and challenging while still being relatively accessible. Squarepusher lets his musical mind take him where it will, which helps to create a highly eclectic selection of songs all but guaranteed to warp even the most musical minds. It’s a fun listen well worth playing more than once.

KOLM, Yūgen (Entheoscape Records LLC). Highly ambitious, well-paced prog rock. Great layering and harmonies with bottom-driven grooves that capture you from the outset. There are more than a couple of Tool influences to be found as well. This album makes for an adventurous ride.

ED O’BRIEN, Blue Morpho (Transgressive Records). It’s often interesting when members of a popular band make solo albums. If a band is the sum of its parts, solo records quickly reveal what said band member brings to the whole. Radiohead’s Ed O’Brien brought the band’s ethereal nature. He uses acoustic guitars, arpeggiated chords, and lush orchestral arrangements to bring Blue Morpho’s songs to life. And he does it with great effect. Some of the music feels like it could be the slightly softer side of Radiohead’s The Bends. It’s quite lovely and a nice way to isolate one of the better aspects of the parent group’s sound. Other tunes have a little more drive behind them by way of heavier beats. Once again, O’Brien doesn’t get carried away with them. The beats propel, but don’t run anyone over. Which is exactly what they should do. What Ed O’Brien brings to Radiohead is both dynamic and highly worthy of recognition.

THE CLAYPOOL LENNON DELIRIUM, The Great Parrot-Ox and the Golden Egg of Empathy (ATO Records). Distinct bass lines? Check. Quirky soundscapes? Check. Eccentric vocals? Check. Les Claypool and Sean Lennon make a great team. What may have seemed like a one-off project had become the gift that keeps on giving. On this, the third collaboration between Claypool and Lennon, Claypool continues to make the most of this band context, going to odd places neither Primus nor the Frog Brigade seem suited for. Don’t sleep on Lennon, either. His contributions make him much more than a novelty living off his last name. If you already loved this band, prepare to love them even harder. If not, enjoy this then go to the back catalog to catch what you missed.

ADVENT HORIZON, Falling Together (Advent Horizon). Intensely melodic prog-metal from a band with deep talent making themselves accessible to the uninitiated. The vocals soar, the guitars crunch, and the rhythm section drives the car hard and straight with its foot firmly on the gas. The acoustic sections provide a nice breather, but don’t get comfortable. The next metal section is right around the corner and we’re headed straight for it! The end result leaves us sweaty and eager to go again!

MELLOW TOAD, Mellow Toad (Mellow Toad Records). The chill side of jam bands, where even the heavier stuff has a comfortable edge to it. This is a band that could easily hang out with the likes of Phish or Umphrey’s McGee. Mellow Toad lets the grooves do the talking while letting the leads go where they will. It’s a cool vibe and a good ride.

MIKE KENEALLY, Off-Broadway (keneally.com). A smoking-hot show in a small St. Louis club. Mike Keneally (guitar, keyboards, and vocals) and Brian Beller (bass) had been touring acoustically before they arrived at Off-Broadway. For their final show, they decided they wanted to plug in and leave the tour with a bang. Some rented gear and the addition of drummer Eric Slick later, the trio was ripping through a huge swath of Keneally, Beller, and a little Frank Zappa material, all of it sounding like the trio had been together for the entire tour. Some of the best music is spontaneous. Keneally and company are a prime example.

ANTHONY GARONE, Ok, but why? (Make Weird Music/Moonjune). Musicians are often told they are the sum of their influences. Anthony Garone has close relationships with Steve Vai and Robert Fripp. Ok, but why? makes that evident. But Garone is also very much his own man. This collection is a balls-to-the-wall exercise in fusion-driven progressive metal. Mostly. He also weaves in and out of his “weird” music thought process. Garone is a very good guitarist whose voice travels well in different contexts, be it interlocking-oriented or shredding. He stays on top of the beat and serves the music nicely. More than anything, this record is fun! It’s a passionate effort from a passionate musician.

WAY IT ENDS, Delusions II (Way It Ends Records). Evanescence meets Garbage at a drum and bass club. The music is often upbeat and bouncy, even if the vocals aren’t. There are also a few Nine Inch Nails-oriented motifs within the grooves. This makes for an interesting mix. It’s eclecticism within the same musical family. But there’s nothing fluffy here. Serious intent comes with each song, making for an interesting and informative listen.

JEFF PARKER ETA IVTET, Happy Today (International Anthem). One of the great things about Jeff Parker’s guitar melodies is their relatively simple feel. There’s nothing flashy … just the guitar giving the soundscape at hand exactly what it needs. Here he shares melodic duties with saxophonist Josh Johnson, making for an interesting give and take throughout the album’s two tracks, recorded live in Los Angeles in August of 2025. Jay Bellrose and Anna Butrerss (on drums and bass, respectively) give the rhythms a laid-back jazz feel and more than enough space for the melodies to weave throughout. It’s solid jazz with room for interesting experimentation.

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