The songs on Rory Block's Prove It on Me express the strength of female artists despite their circumstances as second class citizens in both the musical world and larger American society.
Orpine's "Two Rivers" is a gently undulating, understated folk song that provides a welcome reminder of the enduring majesty of nature.
Terry Borden was a member of slowcore pioneers Idaho and a member of Pete Yorn's band. Now he readies the debut of Blesson Roy and shares "In Tune With the Moon".
Electronic producer Sepehr discusses his debut album releasing Friday, sparing no detail on life in the Iranian diaspora, the experiences of being raised by ABBA-loving Persian rug traders, and the illegal music stores that still litter modern Iran.
This week we are celebrating the best post-punk albums of all-time and today we have part two with the Cure, Mission of Burma, the B-52's and more.
Joni Mitchell's 2007 eco-nightmare opus, Shine is more timely and apt than ever, and it's out on vinyl for the first time.
Bill Withers' Live at Carnegie Hall manages to feel both exceptionally funky and like a new level of grown-up pop music for its time.
Folk artist Emily Keener's "Boats" offers a warm look back on the road traveled so far—a heartening reflection for our troubled times.
The Spirit of ’77 abounds as Sex Pistols round out the Top Ten on the Big List. Counterbalance take a cheap holiday in other people’s misery. Right. Now.
If we must #quarantine, at least give us some post-punk. This week we are revisiting the best post-punk albums of all-time and we kick things off with Gang of Four, Public Image Ltd., Throbbing Gristle, and more.
Chicago-based cellist, Alison Chesley (a.k.a. Helen Money) creates an utterly riveting listen from beginning to end on Atomic.
That Kid's Crush stands out for its immediacy as a collection of light-hearted party music, but the project struggles with facelessness.
Alps 2 and Harry NoSong's "Madness at Toni's Chip Shop in Wishaw" is a dizzying mix of mangled 2-step rhythms and woozy tranquil electronics.
Kathleen Grace and Larry Goldings' "Where Or When" is a wonderfully understated performance that walks the line between pop and jazz.
The '80s were a wild and crazy time also filled with troubles, heartbreak and disappointment for Go-Go's bass player-guitarist Kathy Valentine, who covers many of those moments in her intriguing dual project that she discusses in this freewheeling interview.
Two guitarists, Lee Ranaldo and Raül Refree make an album largely absent of guitar playing and enter into a bold new phase of their careers. "We want to take this wherever we can and be free of genre restraints," says Lee Ranaldo.
Although M. Ward didn't plan the songs on Migration Stories for this pandemic, they're still capable of acting as a balm in these dark hours.
tētēma's Necroscape has some highlights and some interesting ambiance, but ultimately it's a catalog of misses for Mike Patton and Anthony Pateras.
Happy Hour on the Floor is a considerable departure from Parsonsfield's acclaimed rustic folk sound signaling their indie-pop orientation. Parsonsfield remind their audience to bestow gratitude and practice happiness: a truly welcomed exaltation.
Run the Jewels' "Ooh LA LA" may hit with old-school hip-hop swagger, but it also frustratingly affirms misogynistic bro-culture.
Protomartyr's "Processed By the Boys" is a gripping spin on reality as we know it, and here, the revolution is being televised.
Adam Schlesinger was a poet laureate of pure pop music. There was never a melody too bright, a lyrical conceit too playfully dumb, or a vibe full of radiation that he would shy away from. His sudden passing from COVID-19 means one of the brightest stars in the power-pop universe has suddenly dimmed.
The third time's the charm as Bay Area soul sextet Monophonics release their shiniest record yet in It's Only Us.
On their self-titled debut, Human Impact provide a soundtrack for this dislocated moment where both humanity and nature are crying out for relief.
A power-trio of electric guitar, keyboards, and drums takes on the challenge of free improvisation—but using primarily elements of rock and electronica as strongly as the usual creative music or jazz. The result is focused.
"House Music All Night Long" is a song our inner, self-isolated freaks can jive to. JARV IS... cleverly captures how dazed and confused some of us may feel over the current pandemic, trapped in our homes.
Once in its thrall, these days I find the overriding message of '90s alt-rock especially naïve and even dangerous.
Canadian indie folkster Jennah Barry returns with her long-awaited sophomore album, Holiday, which takes on a looser, more relaxed approach.
"Show Me Heaven" was another country. Maria McKee has moved to England, immersed herself in the Classics and turned away from the 21st century.