The frontman of "the most fucked-up country band in Nashville" returns Lambchop to their roots on TRIP. Each group member picked a classic song and was bandleader for a day, resulting in a record that reveals Lambchop's core influences in striking new light.
Caught in a pandemic, Speed the Plough's Baumgartners turned to a faraway musical friend for a collaboration on "Rush Hour" that speaks to the strife and circumstance of our time.
On Taylor Swift's Folklore, the omnipresent, world-conquering princess of self-mythology embraces a brooding post-pop texture that strikes a balance between lusty exuberance and indie-folky introspection.
Acclaimed guitarist and composer Gregory Uhlmann charms and confounds with his gorgeous, layered sophomore solo album, Neighborhood Watch.
The latest album from Queens-based singer-songwriter Matt Longo, aka Thin Lear, is an impeccably crafted ode to loners, death, and alienation.
Nu Deco Ensemble and Kishi Bashi team up for a gorgeous live performance of "I Am the Antichrist to You", which has been given an orchestral renovation.
Seattle indie rock duo Figg (ex-Carissa's Wierd, Modest Mouse) prepares long-shelved LP for release with British rock-inspired single that suggests this band has been worth waiting for.
Mare Berger's The Moon Is Always Full is a bold song cycle with classical underpinnings as well as an approachable, chamber pop sensibility.
You need to care so much about your art to pack this much meaning into not only the words, but the tones that adorn and deliver them. Perfume Genius cares so much it hurts on Set My Heart on Fire Immediately.
Orchestral-indie torch-song chamber-folk? Time to break out your music genre thesaurus for this gorgeous, impeccably crafted gem from Steve Dawson & Funeral Bonsai Wedding.
"Show Me Heaven" was another country. Maria McKee has moved to England, immersed herself in the Classics and turned away from the 21st century.
"On the Floor" is the Perfume Genius we've been wanting: heartfelt songwriting delivered through sunny, sumptuous pop-craft.
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.
Brussels-based composer Cabane's latest work aims to pep you up or seduce you, but often makes the sweet too sugary.
Former Modern Rivals member Alex Schiff recruits former bandmates for Blue Canopy's "656", which is filled with childlike wonder and bright-eyed instrumentation.
Donovan Quinn's (Skygreen Leopards) first solo album in seven years explores memory, love, and loss in no uncertain psych-folk terms.
Florence Welch participated in a deep discussion and gave a short performance as part of the 2019 New Yorker Festival.
Folk poppers Firewoodisland deliver peak chamber pop with the gorgeously arranged and performed ode, "Hollow Coves".
Los Angeles singer-songwriter Jamie Drake's debut Everything Is Fine is informed by deeply personal but universal themes. Hear her latest single "Allison".
The Safes gather extended family for a gorgeous chamber pop album that stands as the group's finest hour to date. Full of surprise and sorrow, Winning Combination is the perfect Safes album.
Justin Vernon's (Bon Iver) lyricism is as cryptic as ever, but the firmness with which he sings his abstractions robs his fourth album of much of its mystery.
Of Monsters and Men lose some uniqueness and quality jumping on a more commercial bandwagon, but their beloved singularity is mostly intact on Fever Dream.
The second album from the unique New York jazz/pop/soul outfit GADADU is an odd – and oddly inviting – collection of songs that combine old-school tradition with new ideas.
Mirah has often embraced a DIY ethos that suggested experimentation and working with found materials. On Understanding, she goes much further out into the sonic stratosphere.
On the High As Hope tour, Florence + the Machine delivers empathy-fueled hope and community.
One of the most inventive bands to emerge from Australia in the 1990s, the Moles get a new lease on life in 2018 with various lineups, searing new tunes destined for your autumn/winter playlists.
High as Hope dials down Florence and the Machine's trademark theatrics to forge a vulnerable and visceral musical achievement.
Hilary Woods evokes open spaces, creeping darkness, contemplation at dusk. Given time, the melodies will gently wrap around the listener like ribbons.
Longtime friends in New Indiana turn their habit of recording conversations into art on "Media", a cross between contemporary classical and chamber pop.
Philadelphia quartet Oldermost dazzles with the soothing and the strange on "Same to Me".
Scottish chamber pop ensemble Modern Studies document and detail the unknown with strong writing and recording on their second album Welcome Strangers.
Welcome to Night Vale regular Eliza Rickman bleeds for art in a new crowdfunded video for "Pretty Little Head".
On Bon Iver member S. Carey's new solo album, a few good tunes aren't nearly enough to populate a Hundred Acres.
Composer, producer and multi-instrumentalist Jon Brion lends his melodic, baroque charm to the most acclaimed film of 2017.
Gracie and Rachel resist the surveillance state and the dull dreariness of modern culture - here represented by harsh shots of isolated texters and gray concrete - in favor of freedom.
The baroque pop group San Fermin is a formidable band to watch. They hit Brooklyn for two nights and are on tour now.
Belle & Sebastian may be 20 years older, but the band still feels young. That's the problem of being human. There's not a person over 40 that doesn't feel 20.
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