Elisabeth earned her doctorate in American Culture Studies at Bowling Green State University, Bowling Green Ohio. Her research identified eighteenth century women who used music as a trade. She wrote her master thesis on the Smiths and Morrissey and published a chapter in the book "Morrissey: Fandom, Representations and Identities." Her areas of interest include gender, music, history, and popular culture. You can find her on Twitter @cupcakeharborer
Alanis Morissette's Such Pretty Forks in the Road is an exposition of dolorous truths, revelatory in its unmasking of imperfection.
Beyoncé's Black Is King's reliance on Afrofuturism recuperates the film from Disney's clutches while reclaiming Black excellence.
Evoking both sarcasm and empathy, Butler paints Jillian and Megan as harbingers of a relatable alienation.
Gaslighter is bold and incendiary, finding the Chicks reclaiming their relevance. Thankfully, the Chicks reject silencing as Gaslighter reestablishes their penchant for vocalizing raw truths.
By returning to defined moments of pain and struggle, Haux cultivates breathtaking music built on quiet, albeit intense, anguish.
Country Westerns are intent on rejecting assumptions about a band from Nashville while basking in an unparalleled sound and energy.
Kristie Robin Johnson's collection of essays in High Cotton dismantle linear thinking with shrewdness and empathy.
It is Afia Atakora's reiteration of the current calls for racial justice that positions Conjure Women as an unadulterated masterpiece.
Larkin Poe pack Self Made Man with unadulterated power. The multi-instrumentalist sisters strut their musicality while firmly rooting their sound in Southern rock 'n roll.
Through vibrant imagery and inventive musicality, Rearrange Us showcases Americana band Mt. Joy's growth as individuals and musicians.
Folk singer-songwriter, Jess Williamson wants listeners to know magic is not found in tarot cards or mass-produced smudge sticks. Rather, transformative power is deeply personal, thereby locating Sorceress as an indelible conveyor of strength and wisdom.
Although inconsistent as a memoir, Miracle Country is a breathtaking environmental history. Atleework is a shrewd observer and her writing is a gratifying contribution to the desert-literature genre.
Featuring several originals paired with timeless covers, Live at the Paramount finds the Ruthie Foster Big Band bringing the house down.
With The Beauty of Your Face, Sahar Mustafah pens an emotional and rich journey, laden with awareness and intrigue.
Sylvain Chauveau's 'Life Without Machines' Is an Indictment of How External Forces Falsely Shape Humanity
Whereas so many contemporary albums are created to harness flash and consumption, Life Without Machines allays bedazzlement. Sylvain Chauveau advocates for unplugging and disconnecting, and only then will we truly live.
Whereas J.M. Coetzee's writing regularly utilizes parables, The Death of Jesus purposely destabilizes. It dazzles in its ability to present profound questions while challenging the reader to remain critical and question the meaning derived from any and all parables.
The Missing Years reveals John Prine's ability to embolden the amusing and touching despite the underlying strife.
Happy Hour on the Floor is a considerable departure from Parsonsfield's acclaimed rustic folk sound signaling their indie-pop orientation. Parsonsfield remind their audience to bestow gratitude and practice happiness: a truly welcomed exaltation.
Ruthie Collins' Cold Comfort is devoid of glittery instrumentation and mellifluous lyrics. Instead, the music is raw, sometimes bitter yet earning for optimism. Collins' grittiness is measured and her anguish certain.
Sea Wolf's Through the Dark Wood holds space for psychological transformation. Alex Brown Church's masterful illustrations of vulnerability and adversity affirm grief as a step towards growth.