Julian Lage’s sound has the warmth of Joe Pass, the bite of Les Paul, and the dexterity of both, as exemplified by View With a Room.
Jordan Castro’s debut The Novelist is a relatable and humorous study in the economy of plotting, ironic description, and the addictive nature of the self.
On Sampa the Great’s As Above, So Below, she makes music with incredible clarity of purpose and affirms a sense of interconnected self and heritage.
Joe Strummer’s fear of becoming bored or stuck provoked him and the Mescaleros to turn over new stones any chance they could. This new set is comprehensive.
Multiple musical histories come to bear on Avalanche Kaito, resulting in an Afrofuturist-tinged, cyberpunk-shaped fantasy well worth an immersive listen.
Death Cab for Cutie show their place in the indie rock pantheon on Asphalt Meadows while also producing music deserving of consideration with some of their best early work.
Beneath the dance-pop, Rina Sawayama’s Hold the Girl is a liberating saga of growth, maturity, and forgiveness branded in the form of an alt-pop album.
One year after his passing, King Scratch fetes the reggae/dub shaman Lee “Scratch” Perry with a multiple-disc, multiple-format, career-spanning collection.
Canadian dream popsters Living Hour capture grief with sluggish tempos, minor key chord progressions, and numbing moments of disassociation on Someday Is Today.
Their first LP for Sub Pop, Built to Spill’s When the Wind Forgets Your Name ends a seven-year vacancy of original, guitar-tempered indie rock.