Treat your taste buds to these mouthwatering leftovers!
We spotlight as much greatness as we can, but a few gems inevitably slip past. That’s why The Leftovers exists: every Friday, we dish out five releases we needed to shine a light on in quick, tasty bites. This week brings new finds from Arthur King, SML, Troth and more. Dig in and savour the finds.
A gorgeous instrumental live set where percussion, violin, bass, woodwinds, electronics, and guitar weave together, creating a mesmerising musical texture that slowly pulls you in. UMN (Fantastic Planet) is the latest endeavour from the experimental ensemble, Arthur King. Led by Peter Walker and featuring an evolving ensemble, this one includes Kern Haug, Pauline Lay, JP Maramba, and David Ralicke. Expect cosmic jazz and deep, free‑flowing jams – improvised music from players who are not afraid of trying new things. Arthur King whisks us into another dimension with this one, and we love them for it!
If this album doesn’t have you itching to catch the band live, nothing will – Spontaneous Music Live captures the Los Angeles‑based avant‑garde quintet SML in full, free‑flowing form. Unlike the group’s highly edited and tightly stitched previous records, Small Medium Large and How You Been, this release completely removes the post-production “curatorial knife”. It captures the band at their rawest, offering a clear window into their collaborative intuition and unedited live alchemy. Press play and enjoy forty-eight minutes of unedited improvisation.
Through The Glass, Dimly is Zac Colwell’s new album for Inner Ocean Records, built as a personal tribute to the jazz records in his father’s collection. It runs 11 tracks in about 39 minutes and leans into a warm, melodic jazz language shaped by Colwell’s memories of Austin, Texas and his early fascination with artists like Eddie Harris, Stan Getz, Hugh Masekela, and Oliver Nelson. What I love is how intimate and reflective the record sounds: Colwell describes it as a kind of autobiography, with song titles tied to hometown memories and a spirit of wonder running through the whole project. The arrangement palette is small but vivid, with Colwell handling most of the instruments himself, and guest drums from Dave Heilman plus guitar from David Feddock adding colour on a few tracks. Slip it on and get lost in nostalgia.
Amelia Besseny and Cooper Bowman create ambient, pop-induced trip-hop with art-rock experimentation as Troth, and if you haven’t met them, it’s about time you did. The Hobart-based duo have released some of our favourite albums in the past few years: Forget The Curse (2023), An Unfinished Rose (2025) and Devotion Objects (2025), their collaboration with Jon Collin. Album number six, The Limits of a Light Touch, is on the way, and it finds Troth approaching a kind of sideways pop music, perhaps more directly than ever before. The first taste of the record is ‘In Essence’, which is simply hypnotic… the album can’t come soon enough!
It’s been over six years since we last heard new music from pianist, composer, and producer Sarah Tandy, but with ‘Hyperjazz’ she makes a strong return. Soundtracked by high-energy electronics and jazzy improvisation, Tandy clearly made good use of her touring breaks to master electronic music production. Along with the track, Tandy has announced that her second album, Delicious Capricious, will land in October. Welcome back!
