In 1967, rock bands on both sides of the Atlantic were struck with the full potential of the record album as a broad aural canvas. In that year the multiracial Los Angeles group Love recorded Forever Changes, which despite its obscurity at the time has been deemed a milestone in art rock by some critics. The album’s latest repackaging includes the original Forever Changes plus an unreleased alternate mix of . . .

From the vanguard of Milwaukee's musical alchemy scene comes the latest brainchild of percussionist Jon Mueller and guitarist Chris Rosenau, a collaborative effort of playful droning and epic meanderings that bury the airy connotations of experimental music beneath fuzzy guitar attacks and resonating grit. Somewhat-restrained experimentation and just-enough indulgence allow all four tracks to take flight. A steady pulse brings each back to the ground . . .

On the second release in the New World Blues series, the only numbers that sag are those where Milwaukee guitarist Mike Starling drifts into trite elevator music (“Pot O’Gold”) or fake Gypsy stuff (“Jinni”). These are more than compensated for by the many standout moments, including the spare rasp of “Above the Clouds . . .

Full speed ahead! That’s the rate at which alto saxophonist and Chicago native Matana Roberts and her extraordinary band push forward into uncharted sonic terrain. It’s not like we haven’t heard post-bop and free jazz in the same molds that Roberts, bassist Josh Abrams, drummer Frank Rosaly and Tortoise guitarist Jeff Parker

The North Mississippi Allstars’ roots are deep in the Robert Johnson American blues catalog, as shown in the group’s 2000 debut, Shake Hands With Shorty. The band earned a formidable reputation for its live performances while touring in supporting roles and at festivals. They fit a niche between other blues rockers like the Black Keys and jammers like Dave Matthews Band. Tours also led to collaborations with artists such as R.L. Burnside, Robert Randolph and Medeski, Martin & Wood, so it’s not surprising that the band’s music has evolved and changed with each release. Their last album, 2005’s Electric Blue Watermelon, a collection of mostly upbeat tracks, earned them a Grammy nomination.

Pixies frontman Black Francis has produced another short CD in the white heat of sweat and inspiration. SVN FNGRS was written and recorded in six days with Francis (guitar, vocals, harmonica) accompanied only by a drummer and bassist. Much of it is melodic alternative rock driven by ringing guitars, though tangents are audible. With its slippery, sliding chords and barked vocals, “The Seus” suggests the Gang of Four

Veteran Milwaukee folkie Jym Mooney isn't singing about Warner Brothers cartoons on his latest CD, as its title and artwork might imply. Instead, he has collected 14 songs about his family. It doesn't get much folkier than that, and Mooney has a way of welcoming a listener to his clan, even as that welcome includes a 19 . . .

The ambient, disconnected work of minimalist composer K. Leimer exists on the fringes of experimental music. And yet, the Hawaii-based musician has nearly 10 albums to his credit. His latest release, Lesser Epitomes, is a 70-minute collection of 21 short and closely related pieces organized into three suites.

The Bulgarian Women’s Choir introduced many Westerners to the haunting chorales of their Eastern European nation. Several other ensembles have followed in their path. The London-based Perunika group, a trio of women of Macedonian descent (the region’s borders are porous), are resolutely traditional despite their . . .

The three Palestinian brothers of Le Trio Joubran are heirs to a family history of music associated with the oud, the ancient instrument at the root of the lute and the guitar. Their latest album is brooding and meditative, yet propulsive and rhythmic, as three sets of hands work the strings in harmony. Most of the melodies . . .