Maggie Rogers Turns Inward on ‘Don’t Forget Me’
Maggie Rogers’ latest album, Don’t Forget Me, is a soft and breezy return to the musician we met on her debut studio effort Heard It in a Past Life.
Maggie Rogers’ latest album, Don’t Forget Me, is a soft and breezy return to the musician we met on her debut studio effort Heard It in a Past Life.
Long-standing art pop collective, the High Llamas take big risks on their latest LP, redefining their sound with hip-hop, R&B, and a lot of Auto-Tune.
Polish duo Coals always looks for something new in music, and Sanatorium is no different. But in the lyrics and emotions, it’s a return to the past.
Older hones in on what makes Lizzy McAlpine a compelling artist: astute observations of being young and in love and still learning what those things mean.
British indie artist Jane Weaver bridges the experimental textures of her earlier work with accessible pop gestures on her latest album.
Alena Spanger’s music is full of odd twists and unconventional choices, but that’s what makes Fire Escape so enjoyable and undeniably beautiful.
Bleachers finds its primary strength in its serenity. Gentle moments of introspection about love’s redemptive power illuminate some of the brightest moments.
There is an openness to Helado Negro’s world. His new album Phasor is a dream(y) wake-up call you want to snooze your way back into.
Mall Girl are in a category of their own. The art-pop trio possess so much potential, and Pure Love is one of the most exciting releases of the new year.
Delayed a year due to Covid, the 30th anniversary re-release of In Ribbons by Pale Saints last October is a reminder of how expansive shoegaze can be.
Ducks Ltd. aren’t pessimists as much as realists. Harm’s Way serves as evidence of the power of music to redeem and bring us together.
This is pop music spiked with something stronger than liquor. Eliza McLamb knows that happiness is an illusion yet she can’t help wanting and rejecting it.