
Lucid Express Lay on the Sweetness for ‘Instant Comfort’
Lucid Express might be restless and eager to defy pigeonholing and complacency. That’s good, but in the process, they’ve made an album that often feels overstuffed.

Lucid Express might be restless and eager to defy pigeonholing and complacency. That’s good, but in the process, they’ve made an album that often feels overstuffed.

Morrissey’s Make-Up Is a Lie is a love letter to Paris: schmaltzy, befuddling, arresting, but, most of all, HIM.

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.
Tōth’s And the Voice Said refines his knack for balancing introspection, pop warmth, and unresolved inner tension.

Kerrin Connolly has stepped up her game, with smart, sophisticated arrangements and an arsenal of pop songs that are a quantum leap from earlier music.

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.

Ryan Gabos’ lo-fi bedroom pop project, Sotto Voce, scales new heights with The Sound of Trying.

The Guided By Voices machine is as well-oiled as they come, but Robert Pollard attributes quality and consistency to chemistry.

Let’s Eat Grandma’s Jenny on Holiday captures love’s emotions on an intimate, confessional record wrapped in a glossy, pretty synthpop package.

Hélène Barbier writes songs that are couched in traditional post-punk, power-pop frameworks, but there always seems to be something off-kilter in the presentation.

As Everything But the Girl, Tracey Thorn and Ben Watt were one of the most unique British acts of the 1980s and 1990s.

For his current timeline-centric release, the R&B/pop polymath Cautious Clay navigates from dawn to dusk with sly ease, discussing his creative process.