Maeri Ferguson

The best thing about a double album from Cut Worms is that once you start listening to Cut Worms, you want it to go on and on forever, and with nearly 20 tracks to get lost in, that feels possible. Nobody Lives Here Anymore is 80 minutes of escapism from

The beauty of William Tyler’s beguiling guitar arrangements lies in their power to transport you to another time and place. If inspired by a vast, harsh landscape in the old American West, you can actually hear in his composition the dry cracking of the earth, the windswept dust settling.

Chuck Prophet has always seemed to be operating on a completely different wavelength than the rest of us. The prolific songwriter has made 15 (yes, you read that right) solo records, all singular, each special. His energy for writing and recording music feels unmatched in some respects, and even amidst

All it takes is a few notes from the opening track of S.G. Goodman’s debut album, Old Time Feeling, to know you’re about to hear something singular and special. Blessed with a one-of-a-kind voice that cuts through the atmosphere like a sharp blade, Goodman sings the kind

Phil Cook and Hiss Golden Messenger tend to attract a slew of incredible musicians and songwriters into their orbit, and one of them is Ryan Gustafson. Recording as The Dead Tongues, Gustafson has been on a consistent run over the last decade, but his latest release hits differently. Transmigration Blues

When we think of Jonathan Wilson, we think of the frantic strings and echo-techno harmonies of 2018’s Rare Bird, or the otherworldly “bleeps” and “bloops” that contrast with pastoral guitars on 2011’s Gentle Spirit. We might even recall the hazy keys and spaced out Bowie vibes of 2013’