Brice Ezell has written for PopMatters since 2011. His cultural criticism has also appeared in Consequence of Sound, Glide Magazine, and Sea of Tranquility. He is a PhD candidate in the Department of English at the University of Texas.
By turning to her roots in central Texas for inspiration on World on the Ground, Sarah Jarosz has crafted some of her strongest songs yet.
"It feels strange to say it", says Norwegian pop artist Sondre Lerche about his ninth studio album, "but this is the perfect time for Patience. I wanted this to be something meaningful in the middle of all that's going on."
Nearly 30 years have gone into the making of Tim Bowness and Steven Wilson's seventh album as No-Man, Love You to Bits. Bowness speaks with PopMatters about returning to the duo's electronic early days, and how Love You to Bits may be the Terminator: Dark Fate of No-Man albums.
New films by Terrence Malick, Miranda Nation, and Trey Edward Shults stand out amongst a diverse crop of films at Austin's annual "screenwriter's festival".
With Giants of All Sizes, Elbow conclude the 2010s with another addition to their streak of brilliant records.
Mika's My Name Is Michael Holbrook contains some of his sharpest lyrical conceits and catchiest hooks, but is often undercut by its too-glossy production.
On her debut album Who Are You Now, 22-year-old singer-songwriter Madison Cunningham sounds like she's been writing music for decades. In this extensive interview, the rising artist tells her story.
By staging a thinly veiled version of Harvey Weinstein – played by John Malkovich in a fat suit – David Mamet aims for controversy in Bitter Wheat.
Electropop's Hot Chip prove once again with A Bathfull of Ecstasy that they one of the most consistently excellent working bands.
Composer William Brittelle's "electro-acoustic song cycle", Spiritual America, attempts to capture non-religious spirituality in musical form.
Dylan Carlson and Adrienne Davies strip all ornamentation away from Earth's sound on their ninth studio album, Full Upon Her Burning Lips, the band's purest sonic statement to date.
Joshua Redman Quartet's Come What May is not just a strong contender for 2019's best jazz album, but also one of the year's essential releases overall.
At the start of his latest tour of Europe, David Gray speaks with PopMatters about his 11th solo album, writing to avoid the obvious, finding the perfect collaborator, and how to avoid "crowing on like a middle-aged man".
Following a hiatus in which its members launched new side projects, Belgian indie band Balthazar return with newfound verve on Fever, their best record yet.
The 11th studio album by David Gray finds him returning to the "folktronica" through which he made his name in the late 1990s, with some added twists.
Instrumentally dazzling but sonically muddled, Harriet Tubman's The Terror End of Beauty is a mixed bag of genre-resistant instrumentals.
Following three fine solo LPs, Tim Bowness releases his most sonically diverse album yet with the adventurous Flowers at the Scene.
In After Certainty, Robert Pasnau constructs a history of knowledge and concludes that most theories of knowledge aren't up to par. But, he says, we can hope.