
Shearwater’s ‘The New World’ Is a Moving Work of Art
Shearwater’s The New World presents a brilliant synthesis of the elements that inspire him, infusing nature into moving, multi-instrumental works of art.

Shearwater’s The New World presents a brilliant synthesis of the elements that inspire him, infusing nature into moving, multi-instrumental works of art.

Rob Smith’s Salt Star is a brief, bright light of emotion and musical interplay, highlighting his unique, consistently engaging vision.

The beating heart of Robyn Hitchcock’s memoir, Stranded in the Future, is not necessarily his career but two great obsessions that inspired it.

What’s so striking about Ruth Garbus and her latest record is how musically adventurous, wondrous and revelatory it is in its maturity and self-acceptance.

Catch a Cold sees Ben “Baby” Copperhead truly embracing what it means to make music with no stylistic boundaries, as one genre deftly blends into another.

Juni Habel presents the perilous beauty of nature as both metaphor and fact, to enlarge and reduce emotions and inhabit a liminal space wherein poetry resides.

Song Shards will not be to everybody’s taste (thank God), but who other than Peter Stampfel could make 1940s jingles sound whimsically cool?

Seven years after her debut, folk artist Jessica Risker embraces sophisticated, baroque arrangements. It’s so good that it’s worth the wait.

òrain’s Hanging Fruit is a cornucopia of pastoral delight, offering dream-like vignettes, where the unknowing is the point.
This bio about Moby Grape’s Skip Spence dissects and casts a glowing light on his work as a composer of some of the most influential music of San Francisco’s psychedelic scene.
Robyn Hitchcock’s memoir 1967 taps into the music high that untethered the restraints of boarding school and shaped his life and music for eternity.
Two decades ago, the hushed indie-rock luminaries Grizzly Bear released a buzzy acoustic debut. A year later, it got a wild remix LP. This is its story.