Fact: for an extended period in 2020, every time I turned on my car the Bluetooth would sync and start playing Ron Obasi’s “Dem Crackas” from Sun Tapes. I already considered myself a casual fan but from that time forward, I was a locked in die hard for every morsel Obasi dropped. From the triple collab of “LORDY LORDY” to the mysteriously ethereal and undeniably badass “VILLELIKEMOOKIE” to the oft overlooked Dimensions N Demos to everything in between, there has been a lot of Obasi to enjoy in the last three years. Despite that constant outpouring, something about the release of Thirty Sunz feels especially elevated.

Over on Instagram, there’s an onslaught of promotional material for Thirty Sunz; videos depicting an animated Obasi endlessly floating on a cloud, a shrouded Obasi hovering through a eclipse, slow zoom shots of Nashville in black and white, photos of Obasi with his family. Promo materials are par for the course for any album but many are shot by Obasi himself; conduits to expand his artistic craft and provide inroads to hear his music.

This same care and craft extends from the album itself. Queue up “MONOPOLY” and you’ll hear Obasi’s insightful verses over top of a swirling beat; but listen even closer and you’ll hear a secondary layer of baritone vocals humming throughout, flourishes of certain lyrics doubled up and a deeper experience rewarded by your attention. Much of Thirty Sunz is a journey through personal anecdotes, largely tied together through Obasi’s experiences in maturation. “ZACHTALYORZ” and “DRAGONBALLZ” are Power Rangers and Dragonball Z references but are both far cries from cheap nostalgia references, they function as milestones along the way worth looking back at. “FINALFORM” is a literal nod to that elevation of craft and looking back at what shaped the journey, delivered atop angelic samples.

Over the years, Obasi has embraced a slower drawl and intentioned delivery. His tracks are filled with references to soul, R&B and jazz – sprinkled with modern beat manipulations. Thirty Sunz is a bold statement of where Obasi has come from and who he is now, confidently. It’s an elevated album about elevation; an artist’s maturation to expand his craft and embrace confidence. Also a helluva enjoyable listen. I’m still a diehard and looking forward to more.

Back in April of 2023, Molly Parden starting rolling out a handful of new songs. At the time, there was very little context provided that they may be part of a larger body of work. The first, “Cigarette,” is a minimal composition teeming with subtle arrangements – a keyboard hum, an ethereal background vocal, a whimsical swirl followed by a mysterious growl – all in support of Parden’s introspective and delicate admissions. Five more singles followed suit, each wonderfully personal and rewarding upon revisitation.

The now available full-length Sacramented is Parden’s third long player and she’s clearly matured into a new state of being. The record is articulate and nuanced; both musically and lyrically. Listening through top to bottom on cursory listen, you may foolishly think the record is sparse. However, each song is filled with flourishes and elements that are worth appreciating. These arrangements are beautiful but can’t be fully appreciated without truly listening. Parden’s voice is delicate but not broken, her delivery confident even when it’s quiet. In a word, it’s intentioned – never without purpose and keen thoughtfulness.

Parden is a deft enough songwriter that there’s no way to know if the lyrical content throughout Sacramented are stories being woven from thin air or highly personal experiences. Regardless of their source, they weave a powerful tale of exhuming a great weight. Reading the proverbial tea leaves just a little bit, the past tense state of the title insinuates a journey that is now complete. A sacrament is ritual of acknowledgement and, in this case, maybe that ritual has now passed. Letting go is always the hardest part.

Finding the balance of truly emotional subject matter mixed with arrangements that reward relistening and a performance that is empowered but thoughtful is a nearly impossible combination. Fortunately, Sacramented is not your average record.

A catchy love song is a treat for the ears but a catchy apology song is much rarer delight. Levi J. Miller must have gotten the memo because “Seventh Chance” is an earworm and a half; an absolute joy to bop along to and sing along with despite the lyrics being drenched in regret and pleading for another chance.. a seventh one at that! The b-side, “Medieval Names,” is a similar sentiment of regret and hope for winning back a lover. Let’s hope that these aren’t autobiographical and Miller is hanging in there just fine, otherwise his heartache is our benefit.

Back in early 2021, electronic musicians Eve Maret and Adrienne Franke released the track “Space Freeway,” an immersive track that evoked dance music, krautrock and some intensely feel good vibes. Individually, both artists have created wonderfully enjoyable compositions themselves. If you’ve not heard Maret’s Stars Aligned or Franke’s Falling Leaves, add those to your queue now. With “Space Freeway,” it seemed the two would be working together on even more music and that was an incredibly exciting proposition.

That possibility is now a reality, as their self-titled collaboration, Eardrummer, is now available. Two years of anticipation can be a devastating force of disappointment but Maret and Franke have managed to concoct a blend of influences mixed with their own personal styles that makes for a riveting listen. The aforementioned “Space Freeway” and “Ultra” kick off the record with rock solid krautrock intonations but the record really starts to show itself with “Planet Orange” – a swirl of glitched out beats, synth overtures and thick bass. The duo invites Julia Meredith and Proteins of Magic to contribute saxophone and flute on “Hibiscus” and “Ode” respectively; welcome additions to the already delightful tracks.

Collaboration can be tough. Often the results are a bifurcated divide of each individuals distinct styles. Maret and Franke manage avoid this trap as no one track feels like it belongs to only one of the contributors. That is to say, you can’t call one track “A Maret track” and another “A Franke track” – even if you do hear some of their familiar synth sounds mixed in. Eardrummer is enjoyably danceable and teeming with optimism in parts, while being atmospheric and a little dark at other times. It’s an immersive journey and I’m happy to take it on repeat.

Depending on who you ask Boo Dudes have been releasing Halloween inspired music since 2014 or 1983 when they were known as Paranormal Punx but all of the members died from “smoking marijuana to death.” There’s really no way to know which is true. What we do know is that there’s a new batch of offerings emerging from their collective graves entitled The Horrible Sounds of Boo Dudes.

As with every Boo Dudes release, the best enticement to listen is to simply read the tracklist. If you get at least one good chuckle from any of these titles, you’ll inevitably enjoy the music within:

1. Ghost Janitor
2. An American Werewolf in Debt
3. Livin’ Ain’t Easy (When You’re Dead)
4. Post-Mortem Boredom
5. Plan 9 from Delta 8
6. Son, Bloody Son
7. Little Mama Mia
8. Dracula Needs a Ride to the Store (feat. Gary Da Gillperson x Merlin Mansons)
9. Do (or Don’t Do) The Indigenous Peoples’ Burial Ground
10. Are You Afraid of the Narc?
11. De-Hemption Song
12. Hackety Axe

For my money, “Plan 9 from Delta 8” and “Dracula Needs a Ride to the Store” are instant reasons to hit play. There’s a bit of irreverance throughout the record, more genres and styles than you can shake a stick at and a genuine commitment to each and every absurd track. It’s not high art but it’s high art, if you get my drift. A welcome treat every year.