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
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.
As society contends with sickness, anger, and fear, Donald Glover remedies the malignancy while fueling the anguish. 3.15.20 signals an important shift for Childish Gambino and secures the album's spot as one of the best of the year.
Working with indie pop's Tennis, There Will Come Soft Rains moves Esmé Patterson away from her folk music proclivities towards a more dream-pop vibe, and uses the album to musically capture the emotionally unspeakable.
While Here to Stay! points to their Riot Grrrl and indie-pop influences, Grrrl Gang methodically transcend redundancy to chisel a concrete space for themselves.
Steph Cha's depiction of systematic racism in Your House Will Pay is compelling, attesting to the complicated social structures at play.
The contributors to Apple, Tree: Writers on Their Parents identify nuance; frequently framing themselves and their parents through multiple lenses.
Dustbowl Revival's Is It You, Is It Me undertakes the personal and political. The Americana ensemble are candid in their responses to divisive political conversations all the while setting their missives to masterful instrumentation.
Kingdom in My Mind captures the energy of the Wood Brothers' live performances, and it invites listeners to come jam-out, as long as the lyrics aren't carefully scrutinized.
Folk duo Kacy & Clayton explore the power of geographic connection and the awareness they develop when separated from their roots on Carrying On, their Jeff Tweedy-produced sixth studio album.
Poppy lays bare a necessary reminder to reject conformity and encircle empowerment. Whereas I Disagree explores what is confining and liberating - the latter is the album's unequivocal focal point.
Folk in 2019 is an image of inclusivity and unity in the face of international political upheaval. It's most captivating in its moments of sheer, heart-bearing authenticity and ensnares with new musical bearings introduced by some of its foremost innovators and newcomers to the scene.
Rachael & Vilray is an absolute reflection of the jazz era while also firmly integrating the sound and energy into the contemporary moment.