
Ora Cogan Is a ‘Hard Hearted Woman’
With Hard Hearted Woman, Ora Cogan showcases that, in a patriarchal world, you have to be literally and figuratively ready to fight, body and soul.

With Hard Hearted Woman, Ora Cogan showcases that, in a patriarchal world, you have to be literally and figuratively ready to fight, body and soul.
Bonnie “Prince” Billy’s new LP is strengthened by communal tendencies, meeting bombs in Iran and executions in Minneapolis not with clenched fists of protest, but with hugs.

Cat Clyde is immensely talented, but Mud Blood Bone is a frustrating listen due to occasional missteps and a questionable cowboy-pop aesthetic.

The Lowest Pair’s new record is steady and confident. It sounds like both a journey and its end point, and in finding peace within turbulent seas.

On her eighth album, Nothing’s About to Happen to Me, singer-songwriter Mitski employs a country-folk sound to reflect the peace found in isolation.

Jackie West grows from her immensely satisfying debut album into a follow-up that sees her taking chances while writing beautiful, emotionally striking music.

Boy Golden has given us a soundtrack for good times, which is an achievement that, in our current world, feels nothing short of miraculous.

January’s Folk Alliance International festival served as a place to restore and recharge for folk music lovers, offering solace and inspiration.

Alice Costelloe’s debut album is refined, elegant art pop, in which her crystalline voice floats over a rich palette of electronic instrumentation with grace.

The post-rock ambient instrumental quintet Pullman’s first album in 25 years is a mysterious, rough-hewn delight.

The Mountain Goats’ John Darnielle is adept at carving patterns, often creating threads in his music by returning to idols that are both familiar and ever-evolving.
Dan Knishkowy’s ever-evolving indie collective Adeline Hotel open a new chapter with the breathtaking Watch the Sunflowers.