If by looking at the cover for Max Subar’s album, Anything Could Be, you get the impression that you are looking at (and possibly will listen to) a typical singer-songwriter album, you would be both right and wrong.
Right, because yes, this is a singer-songwriter album, and its often sparse, acoustically driven sound is all over the place. Wrong, because there is that often missing element of distinction in such music, and here it goes beyond some inventive arrangement touches that embellish the music. It is in one of the key elements that make singer-songwriter music work – the lyrical content that goes beyond ‘pain in my heart’ style storytelling that graces (or disgraces) so many singer-songwriter albums.
Tag Archive: Merge Records
…This remastered edition restores the album’s original running order and features new artwork by Greg Cartwright.
Time Bomb High School is much more than another garage tribute to soulful ’60s Brit-rock. But the sophomore effort from the Reigning Sound is something less than the band’s minimal, country-folk debut. During knockouts like the Rolling Stones-flavored “Straight Shooter” and “I’d Much Rather Be with the Boys,” Greg Cartwright and his Memphis combo’s sound is as pure, and as well-grounded, as anything since Exile on Main Street. With 14 tracks, however, the material and arrangements are spread just a little too thin, and too many average tunes are allowed in the mix. A bit of a stylistic return for…
Performing under the moniker Fruit Bats, Chicago’s Eric D. Johnson has managed to seamlessly slip in and out of genres throughout his 25-year career, from indie rock and pop to experimental folk. Following up last year’s Baby Man, a surprisingly intimate record with Johnson handling the entire album on his own, he is back with a full band on The Landfill, and the difference is obvious from the opening track.
“The Saddest Part of the Song” sounds like a classic Otis Redding tune before Johnson’s distinctive reedy tenor kicks in, occasionally reaching a falsetto. It’s a curious pick for an opening track, but a great song regardless, with layer upon layer of instruments. “All Wounds” is closer to the indie folk sound Fruit Bats is known for, but…
Following the two-person effort Could Have Done Anything (2023), Charlotte Cornfield‘s sixth album, Hurts Like Hell, is a much more collaborative outing as well as her first for Merge and her first since becoming a mother. Not coincidentally (and despite its title), it’s a warm, touching set of songs that is still packed with her often profoundly intimate observations, but this time there’s a subtle shift toward gratitude and perseverance. The collaborators include producer Phil Weinrobe (Adrianne Lenker, Lonnie Holley) and a backing band consisting of Palehound’s El Kempner (guitar, vocals), Lake Street Dive’s Bridget Kearney (bass, vocals), and Wilder Maker’s Adam Brisbin (guitar, pedal steel) and Sean Mullins (drums). The album was recorded at Weinrobe’s…
Following a three-year studio hiatus and the arrest of their now-former drummer Joe Seiders on child pornography charges, Canadian indie rock supergroup The New Pornographers are returning with their new LP The Former Site Of.
Many musicians have come and gone from the New Pornographers over the past 30 years, but the core lineup of Neko Case, John Collins, Carl Newman, Todd Fancey, and Kathryn Calder remains. They were joined on the album by session drummer Charley Drayton, though Josh Wells will be behind the kit when they tour.
According to a press release, The Former Site Of features “ten short stories of people at personal and societal extreme.” In a November 2025 exclusive interview with Rolling Stone…
Crooked Fingers was the solo project of singer/guitarist Eric Bachmann. In the wake of the 1998 dissolution of his much-beloved previous band Archers of Loaf, Bachmann founded Crooked Fingers in early 2000.
One afternoon, Eric Bachmann’s son returned home from school with a sheath of pictures he’d drawn, all of them macabre. “There were crows and sinister figures with scythes and tombstones,” he recalls, “and in the center, there was a strange, lush green tree growing out of all of this red and black. On one of them, he had written ‘Deth, Swet Deth,’ and everything clicked in my head.”
Swet Deth, Bachmann’s first album under his Crooked Fingers moniker after a 15-year hiatus, organized itself around the image: its songs…
Carson McHone begins 2025’s Pentimento with the sounds of birds chirping outside and McHone reciting the words of Ralph Waldo Emerson, as they appeared in a letter to Margaret Fuller. Neither of these things necessarily define McHone’s creative approach on Pentimento, but their presence speaks volumes about how this LP differs from her previous work. There’s a musical and lyrical intimacy in these songs and performances that sounds natural and unforced, and she is clearly not wary of letting her poetic sensibilities take the lead in her writing. According to McHone, nearly all the songs on Pentimento began as poems before she struck on the idea of setting them to music, and while the words mesh comfortably with the melodies, much of this album…
…Friendship’s fourth album finds the Philadelphia band ascending to greatness, arriving at the place they’ve spent the past decade going. It’s one of the most assured indie rock albums in recent memory, the sound of a brilliant writer coming into his own and a band honing in on the ideal aesthetic complement for his songs, imbuing his quiet indignities with a plaintive grace.
Dan Wriggins sings in coarse baritone barks and bellows that evoke bards of desolation like David Berman and Jason Molina, sketching out moments from a humble life marked by loneliness and daily struggle, but not without a sense of humor. Those are trendy influences here at the peak of Lendermania, but Friendship are not bandwagon jumpers. As two of the main figures…