Half-Year Roundup

The 50 best albums of January-June 2026

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Can you believe this year’s half over already? Well, it is, which means it’s time to take stock of things. I’ve been doing these lists since 2022, and the methodology hasn’t changed: every January, I start an Excel spreadsheet that I call “INCOMING MUSIC.” I organize it by Artist, Album Title, Release Date, Genre, and whether it’s a Promo, a Purchase, or just a Download from somewhere. I also make notes on Coverage: whether I include it in my Stereogum jazz column, review it for The Wire or DownBeat, or write about it for Burning Ambulance or the Shfl.

It seems like I get (or bother to download) fewer promos each year, because my spreadsheet is only 225 albums deep so far. (Box sets count as a single entry.) Despite that, it’s been a pretty good year. The 50 albums that have given me the most pleasure so far this year are listed below, unranked, in alphabetical order. A lot of them are part of my Bandcamp collection, so feel free to check that out, too.

a•pe•ri•od•ic, Aus Der Nacht: A 45-minute piece of experimental chamber music composed of 71 discrete, often fascinating musical moments.

Dave Adewumi, The Flame Beneath The Silence: The debut album by an exciting new trumpet player, with Joel Ross on vibes, Linda May Han Oh on bass, and Marcus Gilmore on drums.

Melissa Aldana, Filin: A collection of romantic Latin boleros and ballads by a thoughtful saxophonist who lets herself be swept away by emotion here.

Atlantis Jazz Ensemble, Mystic Suite: The third album in a decade by an Ontario-based spiritual jazz ensemble.

Lakecia Benjamin, We Dream: A typically passionate and high-energy album by a ferociously talented alto saxophonist and several high-profile guests.

Patricia Brennan/Sylvie Courvoisier, Talamanti: Piano-vibes duos by two of the most creative and adventurous instrumentalists around.

Deafkids, Cicatrizes Do Futuro: Harsh, metallic (in multiple senses) electronic punk from Brazil.

Dimmu Borgir, Grand Serpent Rising: Grandiose, symphonic black metal with a cartoonish quality that’s difficult to dislike.

Dave Douglas, Transcend: An impassioned collection of tunes inspired by Duke Ellington’s Sacred Concerts, with James Brandon Lewis on tenor sax and Tomeka Reid on cello.

Arnold Dreyblatt, Descendants: Music For Four Pipe Organs In One Space: Like the title says — four very different-sounding organs playing a single nearly hour-long piece, all drones and fragile harmonies.

El Chon-Chon, Live En Playa Los Molinos: A free but swinging sax-bass-drums trio session, with occasional poetry (in Spanish).

Eximperitus, Meritoriousness Of Equanimity: Dense, pummeling but cosmically inclined death metal.

Ayman Fanous, Brooklyn Stories: Five CDs’ worth of improvised encounters between a guitarist who doubles on bouzouki and a bunch of notable out-jazz names.

Jimmy Farace, Big Shoulders, Big Sounds: A swinging, compositionally ambitious hard bop record led by a baritone saxophonist.

Frozen Soul, No Place Of Warmth: Heavy, rifftastic death metal in the style of Bolt Thrower, with special guests from bands like My Chemical Romance, Machine Head and Sanguisugabogg.

Harriet Tubman & Georgia Anne Muldrow, Electrical Fields Of Love: Psychedelic, atmospheric dub-metal with improvised-seeming vocals floating through on a cloud of effects.

Alden Hellmuth, Tether: A young, creative alto saxophonist backed by two bassists (one bowing, one plucking) and a drummer who also plays with Thundercat and OFF!.

Joe Henderson, Consonance: Live At The Jazz Showcase: Rip-roaring late ’70s live action from the legendary tenor saxophonist, with Joanne Brackeen on piano.

Christopher Hoffman, Rex: Solo acoustic and electric cello pieces utilizing overdubbing and subtle production effects to create a powerful storm of sound.

Immolation, Descent: A punishingly heavy but surprisingly subtle album from death metal legends who’ve never made a bad one.

Jazz At Lincoln Center Orchestra With Wynton Marsalis, We The People: A collection of new pieces written and arranged by orchestra members, inspired by paintings in the Crystal Bridges Museum of American Art; swings hard, in a romantic tone-poem style.

Darryl Jenifer, The Weather Channel: Jazzy, dubbed-out instrumentals from the Bad Brains bassist, with John Medeski on keyboards and a few surprising guests.

DoYeon Kim, Wellspring: The only person playing the gayageum (a traditional Korean instrument, like a koto) in free improvisational contexts; this, though, is a set of compositions, disciplined and passionate at once.

Sofia Kourtesis, DJ-Kicks: Sofia Kourtesis: A romping collection of dreamlike but high-energy electronic tracks, perfect for driving around in hot weather with the windows open.

Klaus Lang, Geschreiben In Wasser: Five chamber pieces (two clarinets, violin, viola, cello, piano and/or electric organ) by an Austrian composer, sometimes droning, sometimes more sound- than “music”-focused, all compelling.

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Intermission! Here’s a video of Napalm Death live at Hellfest last week. Vocalist Mark “Barney” Greenway is looking a lot like John Darnielle these days…

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James Brandon Lewis Quartet, Omni: The fifth studio album by one of the best American saxophonists currently working; also an overtly religious work.

Nduduzo Makhathini, The Myth We Choose: The South African pianist’s 12th album, and fourth for Blue Note, adds electronics to his spiritually focused modern jazz.

Magda Mayas, Chant: Three intense, extended works for prepared piano.

Jason Moran, Jason Moran Plays Duke Ellington: An astonishingly powerful exploration that marries Ellington to Cecil Taylor.

Darragh Morgan, Spin: New Music For Violin & Orchestra From Northern Ireland: I’m used to hearing violinist Morgan in more intimate settings, so these big, sweeping orchestral works are thrilling in a different way.

Angelika Niescier, Chicago Tapes: Saxophonist Niescier recruits flutist Nicole Mitchell, saxophonist Dave Rempis, vibraphonist Jason Adasiewicz, bassist Luke Stewart and drummer Mike Reed for a collection of high-energy blowouts.

Adam O’Farrill, Elephant: Trumpeter O’Farrill debuts a high-energy electric jazz band.

Odd Okoddo & Okoya Nengo, Palagoma: An astonishing combination of adventurous electronic music and vocals from a traditional Kenyan singer; like nothing else I’ve heard this year.

Onilu, Jakutá’s Dance: The second album by a percussion ensemble featuring Kevin Diehl of Philadelphia’s Sonic Liberation Front and legendary drummer Joe Chambers.

Jeremy Pelt, Our Community Will Not Be Erased: Trumpeter Pelt is backed by some extraordinary players — pianist Orrin Evans, bassist Buster Williams, and drummer Lenny White — for a collection of modern jazz with a 21st century edge.

Chris Potter, Alive With Ghosts Today: A jazz concept album about John Brown with fascinatingly ramshackle instrumentation.

Tomeka Reid, Dance! Skip! Hop!: The latest from cellist Reid’s brilliant quartet with guitarist Mary Halvorson, bassist Jason Roebke, and drummer Tomas Fujiwara.

Marta Sanchez, For The Space You Left: After three albums leading a quintet, the pianist in saxophonist David Murray’s quartet makes her solo debut with an album of pieces for prepared piano.

Arturo Sandoval, Sangú: High-energy Latin jazz-funk featuring all the screaming trumpet you’d expect from this high-note master.

Serokolo 7, Maramfa Musik Pro: Adventurous electronic music from South Africa, like industrial crossed with footwork; the snares clap hard, as additional percussion adds double-time rhythmic layers.

Aaron Shaw, And So It Is: Mellow spiritual jazz from an LA-based saxophonist who’s collaborated with Carlos Niño and others.

Spirit Adrift, Infinite Illumination: The final album by one of the best doom/power/trad metal albums America’s produced this century; they’ll be missed.

Matthew Stevens, Matthew Stevens: Solo work from a guitarist I first became obsessed with when he was in trumpeter Chief Adjuah (fka Christian Scott)’s band.

Teratoma, Longing Voracity: Slow ’n’ low death metal from Germany; RIYL Immolation, but there’s plenty of originality here.

Mark Turner, Patternmaster: The third album by a quartet featuring Turner on tenor sax, Jason Palmer on trumpet, bassist Joe Martin and drummer Jonathan Pinson; it’s on ECM, so it’s tasteful, but exploratory.

Ben Wendel, BarCoDe: On which an alto saxophonist surrounds himself with four mallet instrument players; it’ll swirl your brain around but good.

Immanuel Wilkins, Live At The Village Vanguard Vols. 1-3: The three volumes of this live set by alto saxophonist Wilkins and his quartet were released separately, so this is a triple pick, but they’re all great.

Nils Wohlrabe/Karin Johansson/Hasse Westling, Sonic Waves: Adventurous, who-made-that-noise? music from electric guitar, prepared piano, and upright bass.

Rob Zombie, The Great Satan: Zombie reunites with the guitarist and bassist from his first solo album for a hard-charging, thrashy blast of industrial metal.

Various Artists, J Jazz Volume 5: Deep Modern Jazz From Japan 1970-1988: Every volume of this incredible, now-complete series is worth your time — the range of music presented is far too broad for a one-line blurb, so just listen.

Various Artists, Next Wave Acid Punx Trois: Another series of compilations ends; this one is a triple-disc set of electro, industrial, and other music best heard while chainsmoking in leather pants.

Support BA! Burning Ambulance is a 501(c)(3) tax-exempt nonprofit. Donations to us are tax deductible under Internal Revenue Code (IRC) Section 170, and we are qualified to receive tax deductible bequests, devises, transfers, and gifts under sections 2055, 2106, or 2522. Click here to make a donation, and share that link with your rich friends!