Phoebe Bridger's sophomore album is as inviting and raw as a diary reading at a local open mic night. She is unequivocally the voice of her generation.
"Myopia" is Agnes Obels fourth full-length album. Released in early 2020, this is one of the most consistent self-produced works I've ever heard.
Following up 2015’s Currents seemed like a nearly impossible task, but Kevin Parker pulled it off, although The Slow Rush falls a bit short of greatness.
Bong Joon-ho's 2019 film "Parasite" has garnered major accolades and nominations, including the Academy Award for Best Picture. It's a film deserving of that and so much more; "Parasite" is already a classic.
Mac DeMarco is, undoubtedly, one of the most synonymous musicians in the indie music realm. With six full-length albums under his belt, he's crafted a niche that's fully his own. Here Comes the Cowboy, DeMarco's newest LP, hammers this point home.
In Titanic Rising, Natalie Mering’s fourth Weyes Blood album, contrasts rich, orchestral instrumentation with focused, interpersonal songwriting. It almost shouldn’t work, but Mering pulls it off brilliantly. The almost-too-grandiose music perfectly matches the personal, incredibly relatable tales Mering sings about on Rising.
It’s easy to like Julia Jacklin. Her voice and songwriting are both so immediately intimate that they lull you into this sense of comfort. It feels almost as if she’s singing directly to you, the listener, which makes her second solo album Crushing all the more devastating.