The Head and the Heart, “Living Mirage” (Warner Bros. Records)

On the heels of bands like the Avett Brothers and Mumford & Sons, the Head and the Heart arrived into the folk-rock scene at just the right time. Their self-titled debut — self-released in 2009 and later released by record label Sub Pop in 2011 — resonated with fans who delighted in their organic sound. From the tight harmonies to sparse production, the album was vulnerable and pure.

Fast-forward 10 years and the Head and the Heart have headed down a different path entirely. Fans looking for the folksy rock they fell in love with will be disappointed by the clean, heavily produced fourth record, “Living Mirage.”

The album contains only a glimmer of the magic held within the Head and the Heart’s first two albums. The band’s third release, “Signs of Light,” hinted at the group’s transition toward pop, but it isn’t until the first two songs of “Living Mirage” that this identity shift is fully realized.

Those tracks — “See You Through My Eyes” and “Missed Connection” — are arguably the album’s weakest. Gone are the idiosyncrasies that colored the group’s early work. The rough edges of Jonathan Russell and Charity Rose Thielen’s voices have been polished to perfection, and with them, the texture and charm eradicated.

The Head and the Heart are the strongest with songs like “Glory of Music,” where the production is stripped back and the raw vocals shine through. The title track is a breath of fresh air as the harmonica trickles in and Russell croons, “When I give in to you/Every word that you say rings true.”

The album has some other moments of brilliance, but they seem fleeting or lost among a collection of songs that don’t hold the same weight as the past work of the band.
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Simply put, the heart is gone from the Head and the Heart.

NEW YORK (AP) — Newcomer Sivan Alyra Rose represents a rarity as one of the few people of Native American descent to star in a Netflix series — or any television series, for that matter. But she hopes her breakthrough in “Chambers” will encourage more opportunities for women like her.

“I think ‘Chambers’ is really (at the forefront of) an important conversation of inclusion and how simple it really can be,” said the 19-year-old actress from the San Carlos Apache tribe.

The show centers around Sasha Yazzie, who receives a heart transplant and starts having disturbing visions and impulses that lead her on a quest to learn more about her deceased donor.

While Rose describes “Chambers” as a supernatural horror show, she says it touches on real-life issues as well.

“Real life has its stress. Real life has its scares and real life ... plays into the fantasy world at the same time,” she said.

The show also explores real-life cultural issues affecting Native Americans, including the use of its mascots and other imagery in mainstream culture. In one scene, Sasha sees a mural of a Native American on horseback, wearing a feathered headdress and lifting a tomahawk into the air.
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“I went to a high school that was off a reservation town and there’s so much insensitivity in the world. Those kinds of murals, they’re everywhere. We have football teams, we have high schools across the country that love to wear war bonnets to their football games on Friday nights,” said Rose. “We’ve got to stop covering up that there’s bad things in the world and that there’s insensitivity.”

Rose hopes that the show gives a more realistic representation of Native American culture, calling her character “an Instagram loving, super cute teen girl.”

“And that’s literally everyone else on the (reservation) that I grew up with,” said Rose. “That’s all I hope they see, too, is like, ‘Yeah, she’s very normal.’ And Native American, the subject, it sounds dark and it’s ominous and so big and grand, but ... we’re still here and we’re nice people.”

Besides Rose, other Native Americans who are part of the series include executive story editor Jason Gavin, as well as other Native American cast and crew.

“It was nice knowing that it didn’t start at me, to have to make calls and to make sure everything’s right. Yes, I am one of the newer generation Native American actors but I’m not the only one,” said Rose. “It was nice knowing that I didn’t have to do all the checks and balances. There were people all the way at the beginning.”

The series also co-stars Uma Thurman and Tony Goldwyn as the donor’s parents. Rose praised the pair for welcoming her and treating her as an equal despite her inexperience.

″(They) are so kind and so loving and they made me feel accepted. Even though I’m a beginner and I’m new, they never made me feel like that,” she said.

Though Rose recognizes that not everyone is a horror lover, she thinks there are pieces of the show that will resonate with all audiences — well, most.
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“I think ‘Chambers’ is really for everyone — not kids, though. I wouldn’t tell kids to watch ‘Chambers.’ I’m not going to lie about that,” she said with a laugh.

Mac DeMarco, “Here Comes the Cowboy” (Mac’s Record Label)

For a musician who rose to fame quickly — and somewhat unexpectedly considering his niche indie roots — it’s natural that Mac DeMarco may feel some reluctance when diving full force into the limelight. This reticence is palpable on “Nobody,” DeMarco’s first single off “Here Comes the Cowboy.”

“Another creature/Whose lost its vision” DeMarco sings of himself. “There’s no turning back/To nobody.”

“Here Comes the Cowboy,” DeMarco’s fourth full length album, carries a tone of melancholy mixed with hesitancy as DeMarco seemingly has one foot ahead of him and one in the past.

In “K,” a slower, more stripped back song for DeMarco, he comforts a lover, grateful for the path that brought them together and foreseeing the hard times ahead: “Anytime it feels as though my love has gone away/K, settle down, turn around, take this song, let it play.”

“Heart to Heart” also looks at past years of a connection, while “All Our Yesterdays” confronts the tension of the past and future head on: “All of our yesterdays have gone now/ But that don’t mean your dream is over.”

Throughout the record, DeMarco employs his typical lazy-rock style intermixed with lo-fi effects, yet adds a Western tinge to reflect the album’s cowboy motif. The cowboy theme perhaps alludes to the way an isolated DeMarco feels.

In “Preoccupied” he laments about a world with “no conversation”— one where people have opened up their minds, but “filled it with (expletive).” In “Finally Alone,” a cowboy desperate to get away takes a flight to Spain. “Honey, you’re finally alone.”
Overall, DeMarco delivers an album true to his traditional style, yet not afraid to experiment. “Choo Choo” and the latter half of the 7-minute track “Baby Bye Bye” feature a funkier DeMarco than his typical slow jam aesthetic, while “Little Dogs March” gives more of what you’d expect from DeMarco.
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The Canadian artist may feel like “another creature whose lost its vision,” but on “Here Comes the Cowboy,” his vision is perfectly intact.

Ani DiFranco, “No Walls and the Recurring Dream” (Viking)

Ani DiFranco has spent decades challenging the status quo, standing up for what she believes and creating honest, raw music. Her memoir is an extension of these passions. Looking at her lyrics over the years, it has always been clear: She cherishes the written word. In the pages of her memoir, “No Walls and the Recurring Dream,” she carries on this love affair.

Those familiar with the work of DiFranco_a Grammy Award-winner who founded her own record label and has a career spanning over 20 albums_know she is not one to shy away from her opinions.

It is not uncommon when listening to her work to hear a verse that speaks out against patriarchy, the death penalty or the government’s imperialism. So it comes as no surprise that in her memoir, DiFranco does not hold back.

“No Walls and the Recurring Dream,” is unapologetic, steadfast and vulnerable. It’s as if DiFranco has invited you into the living room of her New Orleans home to have a long discussion about how she got to where she is_from creating her first record to meeting Prince and recording in his home.

Readers who are already DiFranco fans are offered a window through which to better understand her music (just in case you’ve ever wondered about the story behind “Untouchable Face”). She gives you the rich context of her past and passions that have culminated in emotional verses and honest storytelling through the years.


The book also stands alone, for those who haven’t before encountered DiFranco. She is vulnerable in a way that is brave_she recognizes the imperfect moments in her existence just as she acknowledges her own triumphs. The honesty of her introspection encourages the reader to look internally as well. “Whatever the thing is that you are resisting the most, whatever thing will be the most painful, that is the thing you must do,” she writes.
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To her credit, DiFranco meets the reader where she or he is. Yes, she has strong opinions, but she makes it clear from the onset that she is not just someone who talks; she is also someone who listens. You don’t have to be a staunch liberal or feminist to appreciate what she has to stay and the stories she has to tell. DiFranco does a brilliant job of walking this line. She won’t sugarcoat her own opinions, but she also leaves room for a conversation to unfold.

Big Thief, “U.F.O.F.” (4AD)

Since the band’s debut album in 2016, Big Thief has continued to pull audiences in, captured by the voice of lead singer Adrianne Lenker and the compelling, poetic lyrics the band pairs with her distinctive, delicate tone. Her voice often comes across as angelic, but on “U.F.O.F.,” the band’s third album, her voice takes a turn. Coupled with cryptic lyrics and entrancing musical composition, her voice is haunting, as it floats through the album’s 12 tracks.

Big Thief, the Brooklyn-based band comprised of Lenker, Buck Meek, Max Oleartchik and James Krivchenia, has mastered the balance of bringing the intricacies of folk to life with the grittiness of rock. “U.F.O.F” shows the underbelly of folk — it is vulnerable, obscure and imperfect in a way that feels transparent and raw. The lyrics are more enigmatic than some of Big Thief’s previous songs, perhaps in an intentional effort to give a sense of disconnect. “Open Desert” is hard to make sense of, but holds their same poetic style.

Similarly, album opener “Contact” is a song that is hypnotic and dream-like, with ambiguous lyrics: “Wrap me in silk/I want to drink your milk.” The track closes with eerie screaming after Lenker coos, “She is both dreamer and dream.”

“U.F.O.F.” wraps itself in mystery, Lenker’s voice sounding as if it holds a secret she might whisper into your ear if you’re listening close enough. Even Lenker takes on an androgynous identity. “Betsy” is raspy and deep, sounding completely different than her usual self, showing she can play with both the masculine and feminine sides of her vocal register.

“Cattails,” ″From” and “Orange” are highlights on the record. “Cattails” plays more fully to the band’s folk side, with foot tapping percussion and a twangy guitar that feels like the sway of a cattail. The lyrical composition stays true to the band’s aesthetic with Lenker singing and reassuring, “You don’t need to know why when you cry.”
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Though the album does not make itself easy to understand, there is comfort in the ambiguity. In the album’s title track, the band makes peace with the object they cannot comprehend, “To my UFO friend/ goodbye, goodbye/like a seed in the wind.”

Brie Larson chopped her hair into a bold look that's perfectly fitting for a superhero star.

It’s only natural that the “Captain Marvel” star would be brave enough to try a new look, and it seems her courage has paid off with this new ‘do.

Not to mention, this sleek, blond bob is the perfect way to welcome summer.

At the “Avengers: Endgame” premiere just last month, her long locks cascaded past her shoulders, but with the premiere behind her and a new chapter ahead, there’s no better time to change it up.

Larson’s first Instagram post sharing the new cut was nonchalant enough (a congratulatory post to her friend Melinda Lee Holm, who launched a beauty line), but that didn’t stop fans from noticing and commenting on how much they loved the look.
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This isn’t the first time she’s chopped her hair short, but she usually opts for a cut that hits her shoulders rather than a full bob that stops just below her chin.

In years past, she’s experimented with her style. She was even a redhead for a stint, wearing the color with chopped microbangs.

​Larson chose a romantic half-updo with a center part for the Academy Awards in 2016.

Pink, “Hurts 2B Human” (RCA)

Right out of the gate on her new album, Pink gives you just the song you expect from the punk superstar: a pop ballad oozing with confidence and giving her signature “f-off” vibe. Her background vocalists sound like a posse as she sings out, “Don’t hustle me/Don’t f--- with me.”

“Hurts 2B Human” sounds largely like Pink’s typical aesthetic — mostly pop with a punk attitude and a few sentimental piano ballads sprinkled in. Just like her 2017 album “Beautiful Trauma,” Pink dabbles in a myriad of styles, but this time recruits the help of more collaborators. Khalid, Cash Cash, Wrabel and even Chris Stapleton make appearances.

The album lands clearly in the pop camp. First single “Walk Me Home” is catchy with all the right ear worm ingredients, but this same formulaic pop tendency hurts her on other songs. Her energy and booming vocals may draw listeners in, but the album falls short with some tracks lacking originality.

“My Attic” sounds like a tune that’s been done before: a Fergie-style “Big Girls Don’t Cry” using a thinly veiled metaphor of an attic to describe the things she keeps hidden. “I keep hiding the keys in all these places even I can’t find/Hoping one day you’ll find them all ’cause I wanna let you see inside my attic.”

This isn’t to say all Pink’s sentimental tracks are kitschy. “90 Days” incorporates a James Blake/Imogen Heap production style with a balanced blend of Wrabel and Pink’s vocals over distorted layers to create a strong track.

It’s also one of the songs that sounds radio-ready, along with the title track, proving that Pink still has what it takes to stay relevant. The breadth of her collaborations are also commendable: the R&B style of Khalid and the country roots of Stapleton may not seem cohesive, but both sound equally at home on the record.
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Overall, “Hurts 2B Human” is predictably Pink — to both its benefit and detriment.

Shovels & Rope, “By Blood” (Dualtone)

The traditions of folk and bluegrass style may seem all but dead — gone are the days of murder ballads, tunes written on horseback and songs yearning for life out west. Gone are those days, unless you are folk-rock duo Shovels & Rope.

“By Blood” is a 10-track album that stays true to the heritage of folk and bluegrass music in theme and style, while adding Shovels & Rope’s own spin and a rockabilly edge.

The duo of Cary Ann Hearst and Michael Trent display a tightness on the album that transcends typical bandmate cohesion. Married for a decade, the two are perfectly in step on every track, filling the space between one another with Trent’s gravelly voice and Heart’s coarse, yet salient vocals.

On the bluegrass and folk songwriting side, there’s “Pretty Polly,” ″Hammer,” ″Mississippi Nuthin’” and “C’mon Utah!” All adhere to the story-telling style of the genre.

“C’mon Utah!” is a battle cry on horseback during a journey out west. “Pretty Polly” tells the tale of a woman he couldn’t let go and couldn’t let stay, so he “buried pretty Polly in a poor pathetic grave.”

“Mississippi Nuthin’” is a cleverly honest ballad about a narrator down on luck, reminding a friend of what they’ve been through together. “Maybe I’m just the blue-collar version of you,” the duo sings, “but I’ve got a plan that’s gonna turn it all around.”

“Hammer” is a stomping, fiddle-infused labor song, respecting the convention of country to honor hard work and perseverance. “They shut my water off/ I’ve got a nasty cough/ But I’m out here every day with my hammer.”

With harmonica solos, thundering drums and energetic riffs, “By Blood” is an upbeat record that still makes time for somber moments. The songwriting on “Good Old Days” and “Carry Me Home” is honest and raw, from the former’s self-loathing (“I hate myself a little more each day”) to the latter’s admission of desperation (“I’m no good when I’m alone/ I’m burned down to the bone”).
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While not everyone can relate to riding horseback to Colorado, there are themes of struggle, desperation and determination on the album that are universal. Times may be changing, but Shovels & Rope prove that folk themes still have a place.

Norah Jones, “Begin Again” (Blue Note)

Norah Jones grew to be a household name after her 2002 debut “Come Away With Me” — an album that brought her five Grammys. She became a jazz sweetheart overnight, but quickly established that she did not want to be boxed into one genre.

Following her early success, Jones began to wander toward folk influences before dappling in electronica, collaborating with Danger Mouse with 2012′s “Little Broken Hearts.” Jones made a return to jazz with 2016′s “Day Breaks” and has now released a collection of singles in “Begin Again.”

The seven-song project harnesses Jones’ ability to tap into other musical streams while maintaining a central jazz feel. Electronic influences are less pronounced than in “Little Broken Hearts” yet more present than in “Day Breaks.” The subtlety is welcomed with the experimentation on “Begin Again.”

“My Heart Is Full” plays with reverb as Jones’ sultry voice echoes and bounces, commanding attention. The distorted vocals in “Just a Little Bit” make the song playful, without detracting from the quality of Jones’ writing. Mirroring techniques used by artists like Bon Iver, “A Song With No Name” mixes the delicate with the experimental, striking a fantastic balance. It’s a distinct Jones’ song, with post-production vocal texture. “It Was You” pulls no bells or whistles, coasting into a jazz number decorated with horns and a thundering piano.
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As a collection of singles, “Begin Again” is less concerned with generating a cohesive feel throughout the album — perhaps allowing Jones more creative license song to song. It’s an entertaining assortment of Jones unrestrained. And as a woman who has accumulated nine Grammys and has seven albums (not to mention two collaborative albums) under her belt, why have any restraint?

Lion Babe, "Cosmic Wind" (Lion Babe)
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There's no doubt that Lion Babe has created a collection of beat-driven, catchy songs in the duo's sophomore album "Cosmic Wind."

The album doesn't push too many boundaries with the collection of R&B tunes, rooted in pop and electronic influences, but there is a certain groove to the record that's hard not to like.

Jillian Hervey's strong, soulful vocals shine through, accompanied by the production influence of Lucas Goodman, who plays with genre intersection without falling too deep into the experimental world of alternative R&B.

The first-released single, "Western World," fits the album's penchant for songs suited for the dance floor, making a play on Pet Shop Boys' "West End Girls." Hervey's sultry vocals coo through a tambourine-accented beat as she sings of culture's incessant desire to never slow down: "In a Western town, a Western world/ So hard to find some peace." Wu-Tang Clan's Raekwon brings the song to a close with a guest verse, before Hervey rejoins with the chorus.

"Anyway You Want To" is simple lyrically, with a fat, fuzzy guitar creating a slow jam. "Reminisce" shows off Hervey's hip-hop chops, while "Hit the Ceiling" shows off her range. With a voice commonly compared to Erykah Badu, Hervey's vocals are captivating. She and Goodman prove in their album of three-minute grooves that they know how to create a catchy track.

While "Cosmic Wind" makes good dance floor music, it's slightly marred by the record's inability to create knock-out singles. Having few standout moments on the album, songs struggle to distinguish themselves from one another, at times running together. Still, Lion Babe created a feel-good record that is certain to make the listener move.