Season of the Peach, the latest album from Black Lips, kicks the doors down from the first warped note. What follows is a relentless 14-track, 40 minute, loud, high-speed ride through death wishes, celebrity name-drops, and glorious chaos.
From the first hush of finger-picked guitar, Too: Matheson Bay Sessions by Something They Call Myth feels like a night around the fire with friends, music as an invitation and memory all at once. Across four songs it moves from the fading glow of Embers to the slow-burn intimacy of House of Friends, weaving stories of camaraderie, risk, and […]
Amanda Shires’ Nobody’s Girl is a luminous, defiant chronicle of life after the end of both a marriage and a musical partnership with fellow songwriter Jason Isbell.
From the opening notes of Right Now! it’s clear that The Third Mind have once again captured the thrill of discovery in real time. Their third studio album is a dynamic dialogue between musicians, eras, and every earlier version of these songs that these fearless improvisers now claim them as their own.
Joan Shelley writes songs that feel like places you can step inside: quiet rooms, wooded trails, a friend’s porch at dusk. With Real Warmth she invites us into the most welcoming space she’s built yet. It’s an album of home, connection, and slow-burning growth, recorded live in the dead of a cold Toronto winter yet filled with […]
Carson McHone’s fourth album Pentimento arrives like a living manuscript, its pages alive with shifting landscapes, salt air, and the grain of skin.
Every so often an artist emerges who feels both familiar and utterly distinct. Scarlet Rae, born in Los Angeles and now based in New York, is one of those.
Sydney Minsky Sargeant, his debut solo album, Lunga, represents a sharp departure from the taut, electronic bite of his previous work as Working Men’s Club. Recorded over several years, it drifts between pastoral folk, ambient interludes, and occasional bursts of intensity. At its best, it offers a glimpse of Minsky Sargeant stripped back and vulnerable; […]
Ivy is one of those bands whose beginnings may sound humble and ordinary, but whose debut album Hush, surges with scale and ambition.
Grant-Lee Phillips is a songwriter who moves between the intimate and the expansive. From the widescreen alt-rock of Grant Lee Buffalo to the quieter folk of his solo records, he places private anxieties within a larger frame of history, myth and politics. In the Hour of Dust, his twelfth solo album, continues in that spirit.
