Simone de Beauvoir’s Inseparable reveals the devastating consequences of succumbing to conventions at the expense of one’s own autonomy and well-being.
Creating her best work with In the Meantime, Alessia Cara proves that any process of healing is never black or white and doesn’t exist on a straight line.
As always, Daphne Gottlieb’s excellent Saint 1001 will please all of her readers – hetero and queer. Does that make her work “not queer enough” for Lambda?
The Body and BIG|BRAVE’s Leaving None But Small Birds is a rich, elemental, and engrossing slice of doom-laden American folk music.
Sam Johnson led Boston punks Choke Up but now delivers a stirring collection of Americana exploring darkness and light on Along the Dark Edges of Everything.
Jana Rush’s new album addresses mental health issues and exists gingerly on footwork’s outer edges, suggesting the genre without quite hardening into it.
Jordan Rakei has a gorgeous voice that’s soulful and thrilling, and his latest album What We Call Life is easily one of the best of the year.
Nick Lowe’s 2001 album, The Convincer, is a late-period masterpiece and a textbook example of a gracefully maturing artist. It’s now a deluxe reissue.
A lyrical ode to Hollywood beauties Montgomery Clift and Elizabeth Taylor, the An American Tragedy-inspired A Place in the Sun casts a long noirish shadow.
The Beths’ new live album, Auckland, New Zealand, 2020, features possibly the most exhilarating music to yet come out of the COVID darkness.