
Mitski Disappears with Grace on Eighth Album
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.

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.

Shane Parish thrives on conceiving projects that seem contradictory and overly challenging, yet come off as effortless and innovative.
Tōth’s And the Voice Said refines his knack for balancing introspection, pop warmth, and unresolved inner tension.

Watterson Hall offers a glimpse into the mythical Texas that many consider their rightful heritage. William Clark Green personifies a good ol’ boy without stereotypes.

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

Squeeze were always ambitious, although never at the expense of fun. Trixies is imaginative, impressive, and most importantly, fun.

Meg Okura creates a unique musical blend, and her new album with the Pan Asian Chamber Jazz Ensemble, Isaiah, is ambitious and lushly accessible.

Based on the best tracks on this new synth pop collection, 1979 was a time that drew equally from traditionalist pop songcraft and new musical technology.

Over crafted, textured synths, palpitating rhythms and intricate soundscapes, Felsmann + Tiley’s music sounds jaw-droppingly expansive.

Jazz trio the Setting have brought to fruition Eivind Opsvik’s love of 1970s and 1980s synthesizer music, ECM solo guitar albums, and experimental art pop.

Hilary Duff toes the line between acoustic and dance-pop, but she ties it all together with songwriting about, for lack of a better term, millennial ennui.

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.