Liz Phair Knew Pop Was a Cultural Construct Before You Did
Liz Phair turned away from indie rock and toward teen-influenced pop-rock 20 years ago on her self-titled album. Critics were harsh, but the LP now seems prescient.
Liz Phair turned away from indie rock and toward teen-influenced pop-rock 20 years ago on her self-titled album. Critics were harsh, but the LP now seems prescient.
Chemistry is a refined reintroduction to Kelly Clarkson as an entertainer rather than just the world’s first winner of American Idol.
The idea of Stevie Nicks as Fleetwood Mac’s “white witch” is particularly poignant as the second wave of feminism rolled into the ’70s.
Maisie Peters knows the power of being the one who has it, of being the one who controls the narrative, as she shows on her new album, The Good Witch.
For Richard Spencer and today’s alt-right, ‘80s British synthpop bands like Depeche Mode satisfy their retrofuturist cultural fantasies.
Blur’s opening performance at Primavera Sound Madrid is cancelled due to rain, but their insane, borderline mythical private gig for a lucky few brings us to our knees.
Joy Oladokun’s Proof of Life attempts to connect with others struggling, hanging in, and moving forward, an invitation traversing musical genres in its call.
Whatever introduced with authority and assurance the Aimee Mann who, by the end of the 1990s, had taken complete control of the rest of her career.
Morgan Kibby has written hits for Panic! at the Disco and Lady Gaga. Yet her true calling was found in a wild new songwriting persona: Sue Clayton.
Natalie Merchant’s title says it all, Keep Your Courage. The beauty of the songs offers solace more than anguish, and changes can be hopeful.
Peter Buck is revered for his work with R.E.M., but he’s made brilliant music with Billy Bragg, the Decemberists, First Aid Kit, and Eyelids. We pick ten of the best.
Aly & AJ’s With Love From recalls classic Americana imagery and sounds like two women reveling in the joy of creating music representing who they are.