This album may be called “Seasons of Limbo,” but Bomethius has never felt more direct and assured.
Neither gloomy nor clumsy, DoomFolk StarterKit might be the most delightful musical surprise you’ll hear this year.
In his fourth record as Bomethius, Jonathan Hodges presents his varied talents and skills in their finest incarnations.
The long-awaited full-length release from Oliver Elf Army finds them at their darkest—and also at their best.
R. Turner’s latest batch of songs is a welcome balm for troubling times of quarantine and instability.
Reagan Sloman’s acoustic offering is a potent and intimate look through the eyes of an exceptionally talented and mysterious songwriter.
We Are Mirrors presents the most-overdue Best of 2019 list to be published on the Web.
STREAKING IN TONGUES tackles marriage and divorce in their most imminently listenable and emotionally eviscerating offering yet.
In the most unembellished record of his career, Damien Jurado grapples with hopelessness and loneliness to striking effect.
“All-American” crushes you with the weight of 21st century living. Then it makes you laugh at its mundanity and madness.
The latest from My Brightest Diamond is an art-pop triumph. Guest review by S. Amanda Clevinger.
“I Don’t Have a Bib” is a true gift and a warm hug of an album.
For listeners looking for a thoughtful exploration of heartache, “Child of My Sorrow” is an essential listen.
Tenessee pop act Superbody released a new single and video, and it’s a fantastic step forward for the band.
Everett’s I Will Keep Your Ghost has at last returned with a bigger, sleeker sound on “Options.”