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.
This version of the Black Crowes are returning to the straight-ahead, swaggering rock and blistering blues that put them on the map in the early 1990s.
Hannah Selin has created a profoundly engaging set of compositions on her debut LP. They are a sonic equivalent to deep sleep and vivid, complex dream states.
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.
Melvins are masters of their craft, still able to make songs that stand with their finest work precisely because they’re never trying to recapture that past.
Singer-songwriter Dawn Landes performs classic folk songs of struggle. Women’s rights are the unalienable ones we all share. Anything else is inherently wrong.
The latest release from Michael Cormier-O’Leary’s instrumental collective, Hour, is a deliberately paced work that’s peaceful and oddly disarming.
Cloud Nothings have delivered record after record of catchy, energetic songs without getting stale or repetitive. Final Summer continues that streak.
Following Robed in Rareness from last fall, Shabazz Palaces continues a provisional series with the cryptic and digressive Exotic Birds of Prey.
Neo-Britpoppers Sunday League bring baroque rock muscle, energetic walls of sound, plus enough British pub swagger to nick your pint right off the bar.
Canadian noise punks go widescreen on their latest to thrilling effect. METZ embrace melody but still bring the noise Up on Gravity Hill.
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.