L’étrangleuse Find Artful Balance with ‘Ambiance Argile’
L’étrangleuse’s music draws from all sides of the Mediterranean and beyond, creating something new and categorically nebulous in a way that works well.
L’étrangleuse’s music draws from all sides of the Mediterranean and beyond, creating something new and categorically nebulous in a way that works well.
Thin Lear’s EP is a unique and instantly lovable combination of indie folk and chamber pop and a superb showcase for Matt Longo’s immense songwriting abilities.
Alec Benjamin writes anthologies, and his fourth album, 12 Notes, is no different. This style of writing suits Benjamin’s propensity for parables.
Cat Power and her band are not a simulacrum of Bob Dylan; they gracefully step into the songs, striking the right balance between honoring and making it anew.
The Avett Brothers’ new self-titled album is solid but not spectacular, which can happen after a group have settled into a long-term career mode.
Abigail Lapell navigates space somewhere between folk, classic country, and lullabies for songs that harness a productive disquiet on Anniversary.
Brooklyn-based singer-songwriter Jackie West effortlessly transcends genres and generations on her outstanding debut album, Close to the Mystery.
Indie pop’s Call Me Spinster possess rock-solid songwriting. Regardless of genre, they have a strong command of melody and an ear for intriguing arrangements.
The Tortured Poets Department‘s songs are calculated, complete, and the most experimental and ambitious of Taylor Swift’s work to date.
Even at this young age, Arthur Melo has a careful hand and a grasp on what’s timely as he crafts dreamy new música popular brasileira on his luscious new LP.
Taylor Swift advances the Midnights synth-based and diaristic formula, embracing increasingly sophisticated and minimalistic sonics on The Tortured Poets Department.
Maggie Rogers’ latest album, Don’t Forget Me, is a soft and breezy return to the musician we met on her debut studio effort Heard It in a Past Life.