Lily Seabird – Lightspheres on Their Way
The Burlington, Vermont singer-songwriter takes flight on her third album.
Essential records, hand-picked by No Ripcord.
The Burlington, Vermont singer-songwriter takes flight on her third album.
Essential records, organised by year.
Nate Amos’ latest album as This Is Lorelai is a spellbinding AOTY contender.
Confident, varied, and unashamedly fun, It Goes On is an astonishing debut album that announces a bold new talent.
Now this is a break-up album. Long-time friends Open Mike Eagle and Kenny Segal team up for a razor-sharp record that showcases their impressive skills.
Caught between illusion and reality, the Brooklyn artist uses her self-doubt to push her songwriting into new, undiscovered territory.
Man/Woman/Chainsaw have found the perfect sweet-spot between edgy weirdness and tasteful sophistication. Their glorious debut is a delight.
Liz Lawrence’s Vespers—a beautiful tribute to her late sister Jessie’s tragically short life—will undoubtedly resonate with listeners seeking comfort and understanding in times of grief.
Philadelphia based singer-songwriter Greg Mendez was one of 2023’s unexpected success stories. Can his first full-length for Dead Oceans survive the weight of expectation?
The Danish art-punk veterans deliver their most approachable, yet distinctly odd, album to date.
On their sixth LP, the Scottish veterans confront loss head-on with raw, impassioned anthems.
Elevated yet approachable, the Canadian singer/songwriter‘s Sacred Bones debut offers a powerful entry point into Cogan‘s quietly bewitching world.
Hip Hop veterans RJD2 and Supastition deliver a mature, satisfying, and genuinely exciting record—reconnecting with the spirit of ’90s underground Hip Hop without falling into the familiar tropes that dilute the genre’s effectiveness today.
Raw, vital, and expansive, Cork-based quintet Cardinals stir up a distinctly Irish-sounding punk sound.
The Chicago supergroup’s first album in 25 years is a quiet testament to their friendship, forged in the face of adversity.
Swedish experimental musician (and pipe organ enthusiast) Anna von Hausswolff goes pop, in her own unique fashion.
On Night CRIÚ, Irish polymath Hilary Woods has found the sweet spot between her two contrasting musical personas—the avant-garde drone architect and the cerebral dream-pop minimalist.
Over the course of a lean 35 minutes, the Melbourne indie rock band proves to be resolute in finding a path forward as themselves.
Rat Saw God was No Ripcord’s favourite album of 2023. Can Wednesday’s follow-up solidify their place in indie rock’s top tier?
Rewarding in its patience, the Scottish trio, led by Stephen McAll, sculpts haunting ambient folk that unlocks songwriter Stephen McAll’s distressing past. Juan Edgardo Rodríguez reviews.
SUMAC, the post-metal improv behemoth, teams up with Moor Mother on a collaboration that just makes sense.
Former Girls frontperson Christopher Owens finally fulfils his solo potential.
Aerial M’s The Peel Sessions is a lasting record of a fleeting moment in Pajo’s history that we’re thankful to finally hear.
On the evidence of BRAT, it’s also justified to say that, right now, Charli XCX is the greatest pop star in the world.
Arab Strap’s eighth album sees the band decking their idiosyncratic brand of post-rock with a warmer, smoky sheen.
Canadian janglers Ducks Ltd. take flight on their second album.
The San Francisco indie pop quartet strikes gold on their second album.
Feeble Little Horse find their stride on their second album.
On Everything Harmony, the Lemon Twigs transcend their classic rock influences by sounding very of its time and timeless all at once.
Praise a Lord... sees Tumor achieving the difficult task of remaining as perplexing as ever while forging a more inviting sound.
Hamish Hawk is an outsider’s outsider with a fast-track ticket to natural treasure status.
On the majestic Norm, Andy Shauf brings a rich musical gravitas that augments the mystery of his chosen subject.
Initially intended as a twelve song suite about climate change, Complete Mountain Almanac ended up becoming a record cancer survivorship following Jessica Dessner’s diagnosis.
The Dublin quintet’s second album is a giant leap forward.
With the sixth Weyes Blood album, Natalie Mering has concocted a successor to Titanic Rising that any gambler worth their salt would have no doubt taken the under on.
The Canadian band delivers perfection on their third album.
The folk-leaning singer-songwriter’s stunning eighth LP couldn’t be a more perfect introduction for those unfamiliar with her work.
Aided by a number of likeminded producers to help fulfil her vision, Parks comes across as an open book, delivering a lushly atmospheric portrayal of a woman who takes pleasure in living in the moment.
The searing third album by the Swedish post-punk renegades is a manifesto on stupidity, taking their depraved, ideologically-charged satire into more sonically adventurous territory.
On his ninth LP, Jason Pierce continues to poke a little fun at his own expense, alluding to being in a state of perpetual medical dependence while revelling in the joy of being human.
Wet Leg’s hotly anticipated self-titled debut is no slapped-together producer’s vision of what the kids should like. Its authenticity is what makes it so addictive, so accessible.
Nilüfer Yanya draws strength from her emotional resilience on PAINLESS.
To borrow a turn of phrase, Big Thief focus on, quite literally, the journey and not the destination. The result is the most compelling case in years on the potential of the journey—the insights to be gleaned, the friendships to be strengthened, your own potential waiting to be untapped.
Lucifer on the Sofa could be considered a more straight-ahead, minimalist affair. That said, it also retains Spoon's ability to reshape classic rock sounds and colour outside the lines.
Despite getting out their humourous side in song titles and social media, Ovlov nonetheless funnel all their passion and expertise into their exhilarating sound.
Steeped in alt-rock and new wave influences and “you can't prove this is about you" vagaries, Vu’s full-length debut is just the right balance of melodrama, defiance, and inhibition.
With Prioritise Pleasure, Rebecca Taylor has likely coined enough slogans to retire on t-shirt sales alone, but it’s also one of the most insightful pop records this year.
Let Me Do One More is a powerful declaration coming from a pop savant who is upping her songwriting chops behind deceptively simple songwriting.
The immeasurable talent that hides behind Simbiatu Ajikawo’s fourth LP's nineteen tracks confirms that she’s one of the greatest artists of her generation.
Darkside’s triumphant return after an eight-year hiatus is an alchemical concoction of beats, textures, sonic flourishes, and melodies that sound like they were recorded in a world that had no precedent.
The long period leading up to this record—not to mention the time afforded for additional audio work due to the coronavirus pandemic—means Wilson has had the space to hone her sound and deliver upon the potential her earlier releases promised.
New Long Leg was constructed in pieces on a wiped-down, passed-around tape deck—the new pandemic normal. It could easily have suffered for it, but the production is masterful.
Tamara Lindeman shifts gears on her fifth album as The Weather Station.
Four years on from the divisive Wildflower, and now almost two decades on from Since I Left You, it feels like The Avalanches have now freed themselves from any pressure at all.
Like Dylan and Townes Van Zandt before her, Adrianne Lenker is emerging as a songwriter who takes an idea and toys with it.
Considering the avant-garde associations suggested by Island’s sonics, it makes sense to weigh the lyrics according to the same, progressive metrics, allowing that the words exist not as prose narrative but as poetic abstractions standing in for more universal meanings.
Bob Dylan recaptures the magic on his 39th studio album.
Deep Down Happy moves along with such exuberant energy that we can’t help but feel amused and entertained.
While there are moments with more levity, Marling casts this world with a haunting backdrop of striking stories and superb instrumentation.
Tumor’s latest works on the issues of Safe in the Hands of Love, while reaching for new genres and ideas.
Soccer Mommy’s second album is equal parts buoyant, earworm riffs and gut punches.
Tunes is a monumental snapshot of the “second act” of Burial’s career, and should be on all electronic music connoisseurs’ Christmas wish lists
FKA twigs’ excellent second album confirms she now has the songs to match her magpie eye for production.
Dawson reminds us that, in spite of our own difficulties navigating the Sisyphean tasks of daily life, there’s always someone worse off.
Two Hands serves as the band’s call to arms—an unspoken dedication to not only put forth music that matters, but also a face-forward shake of the shoulders followed by a clutching embrace.
What started off as a leap of faith, then an attempt at a memoir, ended up as Howard’s album to date.
Lana Del Rey takes a giant leap forward on her sixth full-length release.
Memory poignantly conveys how time has caught up with the Vivian Girls. It may look into the past, but the trio are not the same anymore both creatively and personally.
Alex G’s ninth album is a multi-layered delight.
Bill Callahan’s sixth album under his own name—and 17th if you include Smog—is a deeply enriching experience.
Craig Finn’s literary fourth solo album is a refined experience.
Ventura is the fourth album from Anderson .Paak.
Titanic Rising is Natalie Mering’s fifth album as Weyes Blood.
The sixth Helado Negro album blends intimate glimpses of life growing up in an immigrant household with the struggle of preserving familial identity and fitting in as an outsider.
The fifth album from British rock band Foals is a career high.
Remind Me Tomorrow is Sharon Van Etten’s grandest and greatest evolution yet.
Deerhunter’s eighth album fines them on excellent form.
Julien Baker’s second album scores a perfect ten.
Weezer’s tenth studio album finally justifies the grossly overused “return to form” tag.
Deerhunter's sixth album is their most imposing and courageous release to date.
The Flaming Lips’ thirteenth album is a bleak affair.
The xx’s second album is a worthy follow-up to their Mercury Prize-winning debut.
The fourth studio album from Fiona Apple is a thoughtful fusion of high art and adult contemporary.
Strange Mercy is St. Vincent’s most sonically rich effort to date.
Mastodon’s fifth album expands their repertoire and capabilities while they turn off their heads and let their fingers tell the story.
The Flaming Lips’s latest reinvention caps off another magical decade.
The nocturnal pop of The xx is impossibly unique, yet quiet and low-key at the same time.
Grizzly Bear’s ornate Veckatimest was the second highest rated of 2009.
Annie Clark’s second album as St. Vincent is a grand performance.
The most-hyped record of Animal Collective’s career sees the experimental group trading guitars for a more sample-based approach.
Animal Collective’s seventh album is their best yet.
After a ten year hiatus, Dinosaur Jr. are back—and this time with their original line-up.
Grizzly Bear’s second album sees Edward Droste transcending the work of his bedroom project.
The eleventh Flaming Lips record keeps the magic alive.
Bloc Party’s stellar debut announces a new talent.
Beck’s eighth album is the perfect antidote to the bloated Midnite Vultures.
The Flaming Lips strike gold again on the joyous Yoshimi Battles The Pink Robots.