It's ok to Feel Deeply

At first listen, The Practice of Love, Jenny Hval’s seventh full-length album, unspools with an almost deceptive ease. Across eight tracks, filled with arpeggiated synth washes and the kind of lilting beats that might have drifted, loose and unmoored, from some forgotten mid-’90s trance single, The Practice of Love feels, first and foremost, compellingly humane. Given the horror and viscera of her previous album, 2016’s Blood Bitch, The Practice of Love is almost subversive in its gentleness—a deep dive into what it means to grow older, to question one’s relationship to the earth and one’s self, and to hold a magnifying glass over the notion of what intimacy can mean. As Hval describes it, the album charts its own particular geography, a landscape in which multiple voices engage and disperse, and the question of connectedness—or lack thereof—hangs suspended in the architecture of every song. It is an album about “seeing things from above—almost like looking straight down into the ground, all of these vibrant forest landscapes, the type of nature where you might find a porn magazine at a certain place in the woods and everyone would know where it was, but even that would just become rotting paper, eventually melting into the ground.”

A renowned poet has a new album out Friday titled “The Gospel According To Nikki Giovanni.” In addition to publishing dozens of poetry works, Nikki Giovanni has recorded several spoken word albums over the course of 50 years. But this time, she’s doing something a little different. The new album, a collaboration with saxophonist Javon Jackson, is a collection of gospel hymns and spirituals set to jazz. Growing up in the Baptist church, Giovanni says gospel music was instrumental to understanding herself as a poet. “The spirituals had a message,” she says. “They weren't just some people woke up one morning or came from working in the evening and said, ‘Oh, let's sit down and sing.’ They were sharing information with each other.”

"I feel like 'Home' is a second part of the same book, that the start was in 'Esja', a musical prelude to a real plot. I feel Home is a story with an ending, so the next book can tell a totally different one. I am constantly looking for new ways of expression. I am curious where 'Home' will lead me and my music". — Hania Rani

Christian Tetzlaff’s effortless virtuosity, purity of intonation, and slight emotional reticence perfectly suits Sibelius, making this the finest available collection of the Finnish composer’s music for violin and orchestra. In the concerto, Tetzlaff’s relative coolness makes the music sound more like Sibelius and less like a violin concerto, which is all to the good. That doesn’t mean he lacks anything in sheer technique: indeed, his first-movement cadenza impresses as one of the most impressively concentrated and musically satisfying on disc. Tetzlaff’s slow movement sings but avoids panting and heaving, while the finale realizes the music’s gentle melancholy as well as its more thrusting elements. He’s nicely accompanied by Thomas Dausgaard, whose gentle support perfectly suits the overall interpretation.

Of Montreal is an American indie rock band from Athens, Georgia. It was founded by frontman Kevin Barnes in 1996, named after a failed romance between Barnes and a woman "of Montreal." The band is identified as part of the Elephant 6 collective. Throughout its existence, of Montreal's musical style has evolved considerably and drawn inspiration from 1960s psychedelic pop acts.

Preoccupations is a Canadian post-punk band from Calgary, Alberta, formed in 2012 under the name Viet Cong. The band consists of Matt Flegel (vocals, bass), Scott Munro (guitar, synth), Daniel Christiansen (guitar) and Mike Wallace (drums). The group's musical style has been described as "labyrinthine post-punk".

Turkish pianist-composer Fazil Say set the bar high for himself by aiming to deliver one of the greatest interpretations of Beethoven with this collection. It’s a bold target given the competition, but one thing you can be sure of with him is a big personality and great individuality. He is best in the more classical sonatas; in a work that fizzes with passion, like the “Waldstein”, his character chimes well with Beethoven’s message. Some of his tempi are extreme—his “Moonlight” opening movement is very slow, while the finale is full of dramatic twists and turns—but there’s no denying the force of personality behind his playing. There are many rewards along the way.

The three members of the Rembrandt Trio, after fifteen years of touring the world together, found themselves grounded in The Netherlands when the world came to a standstill in 2020. Known for their curiosity-driven approach to music, incorporating many different musical cultures into their work and collaborating with grandmasters from different countries and continents (most notably with Persian grandmasters Hossein Alizadeh and Kayhan Kalhor) - the trio was now forced to stay put, stop performing, travelling and collaborating.