Maeri Ferguson

The oxytocin-induced delirium of an early romance; the blurred line between dreams and memories; the surreal, blink-and-you-miss-it flicker of heat lightning in a dark, distant sky. There is mysticism in the everyday—being in love, planting a garden, reuniting with an old friend as you grieve another. On her third

That all-consuming magic of escapism that happens in a darkened movie theater? Ken Yates harnessed it with his 2022 album Cerulean, and with its aptly named follow-up Total Cinema, he’s bottled it. Cerulean—an engrossing and deeply emotional album that captured the grief and anxiety of a nearly post-pandemic

Much has been written and poetically waxed about the tricky existential conundrums of the Millennial generation. But no one seems to nail it quite like Esther Rose, who has been quietly building a catalogue of powerful, achingly beautiful songwriting for the past few years. Across lo-fi, twangy foot-stompers and spare

“How are we supposed to remember things?” This is the central question of “Trash Mountain (1pm),” one of two title tracks off Lily Seabird’s latest album Trash Mountain. In sum, Seabird’s songwriting is tackling the challenge of touching down when the world feels like a dumpster fire growing

An imprint of text from a dedication plaque on a bench, pressed into skin. Friends in a kind of beautiful freeze frame of mundanity, playing Grand Theft Auto, ripping a bong, snacking on popcorn. A hypnotic fixation on the gap between a lover’s teeth. A boardroom full of men