Jay Som speaks to PopMatters about handling expectations, agents of change, and how her newfound sobriety influenced her new album Anak Ko.
The songs on Avey Tare's Cows on Hourglass Pond emerged from a need for material for a live show, but you wouldn't assume that when sucked in by their soothing, intricate surrealism. Tare speaks about his creative process, the technical forces driving the record, and where he's at lyrically.
Ten years after a medication paralyzed his vocal cords and forced some of his favorite songs out of rotation, Passion Pit's Michael Angelakos can't wait to tour his debut album Manners and perform those songs again.
Sparked by Caravaggio's Boy with Basket of Fruit, Xiu Xiu's Jamie Stewart sees the title of their latest work, Girl with Basket of Fruit, as a comment on feminist politics and the precarious role of women in the world.
Return 0 is a far more rewarding affair than much of Ash Koosha's recent work, even though it doesn't care too much about being an album.
Joey Purp's QUARTERTHING is a record of confident experiments, songs that wander into unknown territory with purpose, capturing lightning in a bottle most of the time.
Noname's Room 25 sees a brilliant writer finding her outlet, taking in the world around her, and spinning it into her own extraordinary web.
$uicideboy$'s I Want to Die in New Orleans is a depraved record filled with self-loathing, jarring imagery, and awful singing. $uicideboy$ have the charisma to spearhead a movement, but their voices are their own worst enemies.
Sorpresa Familia doesn't merely mark the catharsis of breaking free from an oppressive label; it proves that Mourn needed to loosen the shackles to make the most fully-formed record of their career.