PostGenre’s Best of 2020

5 years ago

For nearly everyone, 2020 has been a time of difficulty. A pandemic. Intense political uncertainty. Murder hornets (?). It has…

Review: Brandee Younger & Dezron Douglas’ ‘Force Majeure’

5 years ago

Black’s Law Dictionary (8th ed.) defines force majeure as “an event that can be neither anticipated nor controlled.” A party…

Brian Kiwanuka’s Favorite Jazz Albums of 2019

5 years ago

As the PostGenre Team is working on their list(s) of Favorites from 2020, here is a flashback to Brian Kiwanuka’s…

Rob Shepherd’s Favorite Jazz Albums of 2019

5 years ago

As the PostGenre Team is working on their list(s) of Favorites from 2020, here is a flashback to Rob Shepherd's…

Castaway to an Imaginary Vacation: Ted Feighan on Monster Rally and his Creative Process

5 years ago

In both his striking visual art and his eclectic music, Ted Feighan engages in a collage making process. In the…

Review: Susan Alcorn’s ‘Pedernal’

5 years ago

Geography isn’t destiny, but it might explain some things about pedal steel guitarist Susan Alcorn and her new release, Pedernal…

Review: Keith Jarrett’s ‘Budapest Concert’

5 years ago

On January 24, 1975, Keith Jarrett sat, in pain, at the keys of a decrepit and horribly out-of-tune piano. The…

Review: EYOT’s ‘557799’

5 years ago

American musicians have been experimenting with Balkan-esque rhythms since at least 1959 when Dave Brubeck brought the 2 + 2…

Review: Emi Makabe’s ‘Anniversary’

5 years ago

The title cut of Emi Makabe's debut full-length release, Anniversary (Greenleaf Music, 2020), is a graceful, bittersweet waltz about the…

Review: Small Bills’ ‘Don’t Play It Straight’

5 years ago

Ten tracks into E L U C I D's Valley of Grace (Backwoodz Studioz, 2017), the rapper declared that "nothing's…