Electronic producer Daniel Avery’s Ultra Truth is both a danceable and listenable collection that packs a corporeal punch and a spiritual cleanse.
Pixies’ Doggerel switches between rock and folk drastically. The crisp production perfectly serves this dynamic, but for foggy ideas and fabricated whimsy.
Junior Brother’s The Great Irish Famine captures the range of feelings we face when learning our place in an increasingly shaky world built on a foundation of tragedy.
Kaitlyn Aurelia Smith has created a mirror of our tumultuous modern world in Let’s Turn It Into Sound where we can see our faults and boundless possibilities.
Grace After a Party is a bold and confident debut introducing Jemima Coulter as an artist who straddles the line between the experimental and the accessible.
And You Will Know Us By the Trail of Dead offer a phantasmagorical collection of songs on XI: Bleed Here Now that touch on post-punk, folk, and modern classical.
On Beatopia, beabadoobee seems to be running from the adolescence that gave us 2017’s “Coffee” while simultaneously drawing inspiration from it.
Guided by Voices’ lasting power stems from Robert Pollard’s poetic observations, but on Tremblers and Goggles by Rank, the highlight is the hard-hitting and capricious music.
SOAK shows on If I Never Know You Like This Again that using uncomfortable past experiences for personal growth doesn’t have to be a drag. It can be a blast.
The Waterboy’s songs are often deemed religious, neopagan, or spiritual. Mike Scott’s inspiration behind 2021’s All Souls Hill might be more earthy.
If jazz is America’s only original art form, Tigran Hamasyan shows that these excavations are still as relevant today as they were when they first appeared.
Eiko Ishibashi’s entrancing score for the Oscar-winning film Drive My Car started a strange and unique journey for the composer, full of doubts and successes.