Bright Eyes’ 2005 Albums Speak to Our Individual and Collective Discontent
Bright Eyes brought their expansive and messy vision to life 20 years ago with two albums that captivated listeners then as they surely will now.
Bright Eyes brought their expansive and messy vision to life 20 years ago with two albums that captivated listeners then as they surely will now.
Flora Hibberd displays grace, timelessness, an accurate ear for classic songcraft, and production touches that wrap Swirl in a glorious bow.
The newest single from her forthcoming album, Forever, finds Lilly Hiatt romanticizing gas station snacks and walking around in the cold.
Americana has never been better with the quality of music, diversity of styles, and the artists’ demographics in terms of race, gender, and wealth.
Country-rockers Loose Cattle’s Someone’s Monster suggests that we may all be somebody else’s demons while the songs imply we might be our own worst enemies.
Can’t Steal My Fire: The Songs of David Olney introduces one of America’s great but overlooked songwriters to a broader audience.
Ross Goldstein’s Blunders embraces the melody and inventiveness of the best pop music but is still unusual and daring enough to stand out.
Chuck Prophet’s incorporation of Cumbia music on Wake the Dead feels more natural than it sounds, but he remains himself, and we get the best of both worlds.
Office Culture’s Charlie Kaplan takes a little from garage rock and folk rock, producing his most satisfying solo release to date. It genuinely mesmerizes.
Christian Lee Hutson’s Paradise Pop. 10 is one of those subtle and more nuanced albums, likely causing it to slip under the radar, but Hutson has arrived.
From the first song on Kelley Mickwee’s Everything Beautiful, you hear her expressive joy and feel her desire to create a cohesive and provocative piece of art.
As they’ve proven on their debut, the Clearwater Swimmers click beautifully as a quartet but are also guided by songwriting of the highest order.