FLOOD

Their fifth LP is a starkly mediocre effort that falls firmly within an already-crowded class of half-hearted folk-pop records that have flooded the market over the last half decade.

On his eponymous seventh album, the modest guitar hero stays true to form in almost every imaginable way.

Despite breathing new life into 35-year-old hits, Olsen’s covers EP often doesn’t always provide compelling alternative interpretations.

The ex-WU LYF songwriter blends breezy, summery rock arrangements with casual, friendly lyrics.

With Ethier’s new record “Further Up Island” out today, the pair of musicians/painters talk songwriting, portraiture, and being a self-critical artist.

The seven-track debut’s unique blend of jazz, R&B, and sensual lyricism is wonderfully enticing.

Valdez’s debut blends airy vocals with atmospheric reverb to create an indie pop experience that’s decidedly Californian.

Paas’ debut is made intriguing by complex, lush contours and eclectic lyricism.

Like the band itself, the selected arrangements are rich, bold, and magically transportive. 

The East Coast four-piece explore powerful, accessible soundscapes in an adequately sized package.

The unofficial sister record to “Live at Massey Hall 1971” is a brilliant summation of the era’s folk movement.

The dreamy indie rockers’ third LP is hazy, sparkly, and full of atmospheric character.

Though not entirely innovative, “Somewhere” is filled with arrangements that have a lot of room to breathe.

The Seoul-based bedroom pop artist shares another earnest ballad following her viral 2020 hit “I’ll Just Dance.”

Ices’ Northern California surroundings and recent transition to motherhood contribute to a holistic voice that serves her arrangements wonderfully.

Charles’ latest collection of songs is a musical mosaic weaving in the influence of artists like Fleetwood Mac and ABBA.