Katie Presley
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On Ghost Notes, its first album in nearly a decade and the first by its original members since 1997, Veruca Salt embraces a throwback sound with obvious joy.
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Patty Griffin turns an unreleased Karen Dalton song into a full-throated, gospel-tinged revelation with "All That Shines Is Not Truth."
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This week: results from our survey about the songs that bring tears to your eyes. Hear listener submissions, as well as personal picks from the All Songs crew.
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Cat Harris-White and Stas Irons have always concerned themselves with galaxy-building — their albums, videos and performances don't arrive in this world so much as reveal theirs.
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The rock trio's first album since 2005 sounds as fresh and vital as a debut, but also as nuanced and skillful as the work of three players with a decade-long, inimitable rapport betwixt them.
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Lily and Madeleine Jurkiewicz spend their second album feeling and defining the contours of each other's voices, trading verses, lines and leads. They call it "blood harmony," which about sums it up.
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The rapper turned pop singer's accessible, soaring voice is propelled by genuine charisma and heart, as she constructs her savvy, sweet pop out of sonically irresistible ingredients.
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Shara Worden's music sounds both micro-orchestrated and entirely, ecstatically spontaneous. Every song here is a mission statement and a directive; each is propulsive and demanding of full attention.
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As implied in her second album's title, the Finnish songwriter makes haunting, revelatory music for hidden places. Wagner sings for the dead; she digs past the heart of any matter and into bone.
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Millennial social anxiety pairs with breezy, effortlessly cool surf-rock on Alvvays, and the combination is irresistible. The Toronto band's beach-pop seems to come straight from the California shore.