
Beth Orton Looks Up to Find Herself Buried Alive
Making The Ground Above may have been therapeutic for the folktronica artist, but it is not redemptive, and Beth Orton knows it.

Making The Ground Above may have been therapeutic for the folktronica artist, but it is not redemptive, and Beth Orton knows it.

Even in the ever-changing, ever-progressive realm of folktronica, the sounds of Odd Okoddo and Ogoya Nengo stand out here as exceptional.

Politically and philosophically, Lucas Santtana’s Brasiliano demonstrates wondrous clarity of purpose and boasts consummate musicianship.

David Gray’s Life in Slow Motion is out in a new anniversary deluxe edition. We dig into his rich archive to recommend tunes that speak to songwriting brilliance.

Zach Condon’s (Beirut) commission to compose music for a Swedish circus works well as an album but serves better as an artistic statement.
Circuit des Yeux’s work, including her singular voice, conjures the grand epics, the metamorphoses that the ancients whispered and sang about.
Death Jokes finds Amen Dunes tackling big issues and exploring influences from his youth, but the connection with his listeners still creates deeper meaning.
Humanity and kindness emanate from The Work which shows off Gold Panda’s agility and skill in the studio. The effect is hypnotic and captivating.
Kevin O’Connor’s first album under the Talkdemonic moniker since 2011, Various Seasides, is imbued with all the warmth of a fuzzy sonic blanket.
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.