zzzahara's fourth album trades the romantic preoccupations of earlier releases for something harder-won — a tender, analog meditation on grief, mixed identity, and the strange clarity of sobriety.
Post-punk abrasion, unconventional violin, and lyrics sharpened by a literature degree converge on Modern Woman's debut 'Johnny's Dreamworld,' an album built around the friction of being told you're simultaneously too feminine and not feminine enough.
Johnathon Ford discusses his band's latest release, 'High Remembrance,' the one-album-a-year discipline that has defined Unwed Sailor's second act, and why the bass guitar is the closest thing he has to a singing voice.
Erica Ashleson and Guillaume Siracusa discuss 'Clipping', the indie duo's third album, their move from DIY bedroom sessions to a French countryside studio, and why they'd happily redo a vocal take twenty times.
The music journalist reflects on his two-decade tenure at the Financial Times, the tension between covering superstars and unknown artists, and his conviction that transcribing interviews by hand remains a moral compulsion in an age of automated everything.
Recording their debut album live off the floor in just seven days, the trio channels garage rock fury and Maritime folk traditions into songs that capture a regional scene experiencing its own creative renaissance.
Five years and 21 songs into 'Highwalllow & Supermoon Songs,' Zac Little unveils an album that mirrors the cycle of a planetary system, its melodies pulled into orbit around a central landscape.
Chris Hemer and Sam Mishos discuss their latest release, 'Mountains Turned to Dust,' how revisionist westerns and Willie Dunn's counter-narratives inform their music, and why they remain committed to the album as an organizing principle.