Sharon Van Etten’s transformative fifth studio album, Remind Me Tomorrow, kicks off with a lyrical sucker punch: “Sitting at the bar, I told you everything / You said, ‘Holy shit. You almost died.’” To emphasize the gravity of the interaction, Van Etten slowly draws out each syllable, as funereal piano chords provide…

A 2013 article in The Atlantic asked a very good, non-rhetorical question: “Why is Sweden so good at pop music?” The fascinating article outlined some potential answers—prioritization of melodies, government support of artistic endeavors, a supportive community, embrace of cutting-edge technology and sounds—but missed…

Sonic and emotional economy tend to be Chan Marshall’s greatest strengths. Her albums as Cat Power sound like eavesdropping on intimate confessions bolstered by stark musical accompaniment. Even though Marshall has moved beyond guitar-and-voice compositions as her career has progressed—1996’s What Would The Community…

When Christine And The Queens emerged with 2015’s self-titled effort, the album was a welcome antidote to sterile pop music. Héloïse Letissier, the French musician behind the project, wasn’t just a refreshingly honest songwriter. She was also a mesmerizing live performer who seemed to melt into rhythms and grooves—and…

Courtney Barnett’s debut full-length, 2015’s Sometimes I Sit And Think, And Sometimes I Just Sit, established the Australian indie-rocker as a potent musical force. With its tumbling guitars, ragged vocals, and grunge-punk tones—all of which coalesced on the scorching, sassy “Pedestrian At Best”—the album exceeded the…