
Lambchop’s ‘Punching the Clown’ Is Worth the 4-Year Wait
With acoustic guitar and banjo, Lambchop return to their Nashville roots, while the choruses create yet another idiosyncratic background for musings on America.

With acoustic guitar and banjo, Lambchop return to their Nashville roots, while the choruses create yet another idiosyncratic background for musings on America.

Catch a Cold sees Ben “Baby” Copperhead truly embracing what it means to make music with no stylistic boundaries, as one genre deftly blends into another.

Thin Lear offers so much, from moral anguish and difficult truths to a sound steeped in the best qualities of pop, rock, and folk music from the last half-century.

José González preaches to his audience like a folksinger, but his music shares more in common with chamber pop than with other Dylans due to his polished stylings.

Armed with just a piano and her voice, Berlin-based Mary Ocher is a striking presence on her new record, Weimar.

Jan Esbra translated the pain and loss of the end of an eight-year relationship into five graceful, eloquent, mesmerizing songs.

With the release of Rainy Sunday Afternoon, The Divine Comedy’s Neil Hannon discusses his music and deceptive personas – his and others’.

Lisa Harres’ debut strikes the right balance between skeletal piano-led ballads and baroque embellishments. It’s spellbinding with elusive beauty and staggering depth.

Irresistible hooks and cunning arrangements abound on Peaceful Faces’ new record led by singer-songwriter Tree Palmedo.

Following up her novel while exploring the emotional pull of scents, Jenny Hval’s new glistening album has few peers. She discusses this in a new interview.

Zach Condon’s (Beirut) commission to compose music for a Swedish circus works well as an album but serves better as an artistic statement.

Thin Lear is a complete artist in that his influences are impeccable and apparent in his songs, yet he still crafts his own unique, brilliant voice.