Wilco’s Wisdom in ‘Sky Blue Sky’ Resonates 15 Years After Release
Is there such a thing as middle-aged rock? If so, it would sound like Wilco’s Sky Blue Sky with its measured simplicity and reflective intensity.
Is there such a thing as middle-aged rock? If so, it would sound like Wilco’s Sky Blue Sky with its measured simplicity and reflective intensity.
The most surprising thing about Faye Webster’s new record, Car Therapy Sessions, is its lush production. The orchestra purposely aims for the beautiful.
Relying equally on the country sound of Lucinda Williams and the hard rock melodies of Johnny Rzeznik, Ezra Cohen’s The Sweet Million is brimful with poppy hooks.
Co-Starring Too is Ray Wylie Hubbard’s second recent LP in which every new song features a guest artist or two, paying homage to his distinctive Texas style.
Messiness is a large part of the charm of Shovels & Rope’s latest album, Manticore. The unpolished veneer suggests the authenticity of the material.
On Nightroamer, Sarah Shook and the Disarmers capture that nocturnal vibe where darkness illuminates the unknown more than hides what should be seen.
Pinegrove’s 11:11 is the extolled group’s most sober collection of songs—a literate latticing of personal sorrow and environmental collapse.
Aoife O’Donovan’s Age of Apathy is lushly layered and sophisticated. Its connections to contemporary jazz and even classical music are clearly evident.
Americana’s Jamestown Revival get back to their roots for a sublime, all-acoustic album that offers keen insights into everyday life.
West Virginia’s Sierra Ferrell has found a temporary home in Nashville as an artist who makes old-timey country sound new, but she isn’t ready to stop there.
Old Crow Medicine Show’s “Paint This Town” has musical echoes of other small town, teenage, life stories in all of its boredom and glory.
Unlike many pandemic music projects, there are no filler tracks or wasted space on Brandi Carlile’s In These Silent Days. Each song stands on its own stylistically.