British indie pop musician Lande Hekt dug deep into personal experiences for her first two efforts — 2021’s Going To Hell and 2022’s House Without a View — singing about
Justin Townes Earle, the deeply talented but sadly troubled folk/Americana musician, succumbed to an accidental overdose just over five years ago. Yet within the span of just weeks, an authorized
Nashville-by-way-of-Philly musician Langhorne Slim has released more than half a dozen records blending folk, Americana, and the occasional indie-pop song. But five years after Strawberry Mansion—a deeply personal, post-pandemic record
Juliana Hatfield is one of those truly great Gen X musical touchstones who remain as prolific and musically relevant now as she was at the height of her popularity in
Crammed into the basement of Philly’s First Unitarian Church on November 19th, Austin’s Die Spitz tore through just over a dozen songs, fusing the spirit of late-’70s Orange County hardcore
The record industry’s shift away from vinyl in the late ’80s and ’90s did a real disservice to live albums. The rise of CDs — and the ease of skipping
There is an intimacy to Lydia Luce’s third and latest LP, Mammoth, that feels almost invasive. Across a dozen ethereal tracks, she touches on pain and relationships, eventual acceptance, and
Jeremy Pinnell’s latest LP edges away from the strictly traditional country sound that anchored his early records, where Roots, Western Swing, and Honky Tonk set the tone. His new Shooter
The 1980s were heady times for synthesizers and drum machines. Ushering out the distorted three-chord guitars and traditional drum/bass/guitar lineups of the punk and stadium era rock of the decade
For a band that’s constantly on the road, it’s hard to believe The Lemonheads haven’t released an album of original material in nearly twenty years. Love Chant marks their first
