A composer and woodwind player who is expertly walking the line between jazz and new music, Anna Webber has assembled a great band of improvisors to follow her mostly-brilliant treasure map in the new jazz.
There's a Lone Star saying that goes something like, "It doesn't matter if I am right, as long as I know I am true". Patty Griffin follows that motto.
Matthew Herbert's The State Between Us is an extraordinary album for extraordinary times, as it addresses Brexit and what it means to be British and European.
While not as streamlined as Get Out, Jordan Peele continues to provoke thought through the horror movie lens with Us.
The Wedding Album's "John & Yoko" is a brilliantly disquieting composition that exists unequivocally as an intentional, constructed art piece.
The lovely cadences in Summer Brennan's High Heel stack up like so many sand castles that sift iconic examples of high heels into a finely grained pile of pros and cons that each reader will sift through quite differently.
Big without the "bang", Miss Universe poignantly showcases the young talent Nilüfer Yanya coming into her own on her own terms.
On his debut album ATAXIA, Rian Treanor has mastered a whole new sonic vocabulary that gradually destabilizes and erodes existing principles and practices of electronic music to create something wholly unique.
The 11th studio album by David Gray finds him returning to the "folktronica" through which he made his name in the late 1990s, with some added twists.
Luther Dickinson and Sisters of the Strawberry Moon's short run of City Winery shows preceded the release of their debut Solstice.
At its best Jordan Peele's Us shows that when a society subjugates and marginalizes huge swathes of its population, it is doomed to devour itself from within.
For those curious about what awaits them on the other side of youth, writer-director Sebastián Lelio's indie drama Gloria Bell offers an unflinching glimpse at some unforgiving terrain.
Doko Mien highlights Ibibio Sound Machine's versatility as the group continues to bring Lagos and London together in new ways.
John Smith's Hummingbird is poised to introduce an artist John Renbourn once called "the future of folk music" to a worldwide audience.
Luther Dickinson and a remarkable group of roots music vocalists explore their own pasts on the vibrant new Americana collaboration, Solstice.
As far as The Handmaid's Tale and Philosophy is concerned, Trump et al are the exact bastards you're not supposed to let grind you down.
Jordan Peele's home invasion thriller, Us, in which a family is threatened by their doppelgänger, relies on a clutch of jaw-dropper reveals but also a creeping sense of universal guilt.
Kevin Elkin Henthorn of Cape Francis is the indie rock everyman, and he made a record with Deep Water that many will feel in their bones.
Instrumentally dazzling but sonically muddled, Harriet Tubman's The Terror End of Beauty is a mixed bag of genre-resistant instrumentals.
Lambchop's new album is the musical equivalent of that final "walk" monologue from Synecdoche, New York. It's a heavy listen, but potentially a rapturous one as well, for anyone who has ever experienced a reverie of aging and all it entails.
With an understanding of detail and texture, cellist Julia Kent's Temporal displays her intimate understanding of acoustic and electronic elements.
Under the aegis of fluidity, Quinlan Miller advances a trans-conscious viewpoint in Camp TV that happily takes a pick-ax to more basic gender studies approaches to pop media.
The slow motion success story of a '90s college band from Urbana, Illinois, takes another unlikely turn with American Football (LP3).
On New Rain Duets, Mary Lattimore and Mac McCaughan construct a beautifully minimalistic record, filled with emotion and intricacy.
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