Having only put out five albums in the past two decades, Beth Orton’s Weather Alive embraces her electro-folk past while embracing a weathered, gorgeous future.
Creating space to honor intense feelings was the goal of Maggie Rogers’ NYC performance and she achieved it. The crowd left with a sense of “feral joy”.
Born of quarantine isolation, Pictish Trail’s Island Family explores connections to place and time. Its creativity offers a challenging authenticity.
“Broken March’s” primary melodies pull from folk influences, with piercing ethereal synths recalling Nick x Nati’s combined experience in electronic production.
Ben Howard’s Collections from the Whiteout, produced by the National’s Aaron Dessner, presents a refracted take on the singer-songwriter album.
The Prize Fighter Inferno’s The City Introvert has a safe superficiality, combined with a few moments of out-and-out cringe, making it above-average at best.
Chad VanGaalen’s World’s Most Stressed Out Gardener has elements of hurt and darkness, but he sounds at ease in his ever-changing musical gambits.
Jane Weaver’s ‘Flock’ is perfectly complete, hermetically sealed while suggesting any number of influences and reference points that never usurp the originality of the songs themselves.
On their morbid new record, London's ever-experimental Tunng explore new sonic contours in their pursuit of all things grief. They mark the occasion by talking about their favorite songs about death.
Berlin's Wolf & Moon are an indie folk duo with a dream pop streak. "Eyes Closed" highlights this aspect as the act create a deep sense of atmosphere and mood with the most minimal of tools.