Phuc Tran's smart, tough memoir, Sigh, Gone, might launch a broken down kid to read 150 great books—for free, at the local library.
Canadian indie folkster Jennah Barry returns with her long-awaited sophomore album, Holiday, which takes on a looser, more relaxed approach.
Jamrockers Circles Around the Sun's self-titled third album finds the band transcending darkness after losing their founder in 2019 to chart a groovy new course.
Bob Dylan's "Murder Most Foul" is a 17-minute story song about JFK's assassination and a suitable audio dispatch from and for the end times.
Arriving less than a year after Drift Code, Rustin Man consolidates a rich vein of form with the sepia-toned Clockdust, an autumnal record rendered generous and exquisite by each song's emotional weight.
On their inspiring second album, Ohms, Arizona avant-garde collective Trees Speak invoke the best of expansive electronica through motorik repetitions across a sprawling masterwork.
The story of one of Frida Kahlo's short affairs, captured in Marc Petitjean's excellent book, The Heart, offers an inspired glimpse into the surreal Parisian art scene of 1939.
Sea Wolf's Through the Dark Wood holds space for psychological transformation. Alex Brown Church's masterful illustrations of vulnerability and adversity affirm grief as a step towards growth.
The Weeknd's After Hours naturally weaves together cinematic vignettes of debauched Hollywood and Las Vegas nights, following a new filmic tie to Uncut Gems and a prior decade of character building.
Gigaton sounds like Pearl Jam convincingly doing their very best to not sound like Pearl Jam. Liberated from their past and their expectations, the band have freed themselves to take some long overdue risks.
Evritiki Zygia's Ormenion has a ferocity that speaks to the tenacity of old traditions as well as to a progressive spirit. It's nothing short of hypnotic.
Every track on Lilly Hiatt's Walking Proof shines with imaginative playing, spirited vocals, and sensitive, literate lyrics. It's truly a kick ass record.
Katie Crutchfield's latest as Waxahatchee is a high point in an already impressive career. Saint Cloud finds an artist operating at the top of her game to produce a thrilling and inspirational work.
As society contends with sickness, anger, and fear, Donald Glover remedies the malignancy while fueling the anguish. 3.15.20 signals an important shift for Childish Gambino and secures the album's spot as one of the best of the year.
Four Tet's 10th album, Sixteen Oceans, begins on the dancefloor, travels to the woods, and ends becalmed, invoking, and bestowing peace and tranquility.
Neo-folk/black metal artist Myrkur bolsters her impressive discography with yet another distinctive and enthralling album that draws on other music while remaining uniquely her own.
Never Anyone But You is an inspiring tale of surrealists Claude Cahun and Marcel Moore, who defied homophobia, Nazis, and gender norms while pushing the boundaries of art and love.
Mute Duo's second full-length album, Lapse in Passage, is dark, multilayered, and uncommonly beautiful. It's like David Lynch baked in the Texas heat. It's the soundtrack to a Cormac McCarthy-inspired fever dream.
Brooklyn-based duo Quarterly combine elements of folk and classical on the intimate, calm, and unique Pomegranate.
Sam Sparro's Boombox Eternal is Jam & Lewis, Nile Rodgers, and Quincy Jones all nodding in unison. It is Day-Glo colors and endless mists of hairspray.
Brian and Roger Eno's Deutsche Grammophon debut, Mixing Colours, represents a refreshing antithesis of today's harsh and accelerated times.
The imaginative filmmaker Karel Zeman influenced many artists including Terry Gilliam, Tim Burton, fellow Czech Jan Švankmajer, the Brothers Quay, and animator Lawrence Jordan's recycling of classic 19th Century imagery.
False Heads' It's All There But You're Dreaming is the sound of a modern rock band expertly knitting chaos, beauty, and noise together.
Though called "The First Lady of Song", Ella Fitzgerald is more lauded for her spectacular vocal sound than for her interpretations of lyrics, but a new reissue should help correct that understanding of her art.
Canadian musician, composer, and instrument maker, JOYFULTALK produces his third LP, A Separation of Being, which overflows with cohesion and light.
London-based Afrofuturist band, ONIPA frame discussions of humanity within a pan-African sonic context on their brilliant debut, We No Be Machine.
The three albums Los Campesinos! released after their debut showed who the band really were: angrier, artier, and more thoughtful than we initially thought. Romance Is Boring holds up in its notable decade-on reissue release.
Agnes Obel's Myopia is delicate and personal, employing treated vocals and piano to plow depths of sorrow and interrogate dark storms of the soul.
Magnetic Ghost's Pixels is absolutely masterful stuff from a sound-sculptor sitting at the intersection of post-rock, post-classical, and strains of ambient music.
The new solo album by the Deslondes' Sam Doores is a beguiling brew of old rock 'n' roll and New Orleans R&B, with a hint of Berlin experimentalism.
Auður Ava Ólafsdóttir's Miss Iceland Is at once a poetic, light-hearted narrative and a sharply edged social critique that is caustic and righteous in its portrayal of the enduring nature of sexism, misogyny and homophobia.
Imagine an orgy scored by rusty industrial equipment blasting New York City noise-rock, something like Unsane, Cop Shoot Cop, or Swans in their wicked primes. That's the noise-rock supergroup, Human Impact.
Pantha Du Prince's Conference of Trees is a bold project that benefits from the creator's focused vision as he invites the listener to piece together imagined conversations between trees.