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.

Maverick Sabre, "When I Wake Up" (FAMM)

English-Irish musician Maverick Sabre doesn't hold back on his new album "When I Wake Up." Sabre writes with purpose and resolve on his third studio release, not shying away from topics such as faith and politics.

In Sabre's soulful opening track, "Preach," he dives in, questioning his relationship with faith. His voice resonates with a slight echo as he comes in a cappella. Piano, background vocals, bass and drums slowly trickle in, building to the chorus: "Why don't you just preach."

In "Guns in the Distance," Sabre again is unapologetic in the questions he asks. "Mother won't get to kiss her child/Father won't get to see her smile. Politician can you see this pain?" The drums beneath the jazzy hip-hop track pound his message through by the end.

This is not to say Sabre doesn't have light-hearted moments on his album. "Slow Down" is a reggae-infused jam featuring the soulful Jorja Smith. "Drifting" is a groovy track fit for a morning commute through a city. It has an indie feel, laying down a Beastie Boys-type beat underneath Sabre as he ranges into falsetto.
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Sabre never falls into the trap of creating a collection of songs that sound the same. Each track is refreshingly unique with R&B, jazz, soul, reggae and hip-hop influences throughout. "When I Wake Up" is a phenomenal display of talent from an artist ready to prove he can't be kept in one box.

Lucy Rose, “No Words Left” (Arts & Crafts)

“Conversation don’t come easy,” Lucy Rose softly sings on the opening track of her new album. “But I’ve got a lot to say.”

Guitar picking fills the space of the track “Conversation,” joined by subtle strings as Rose grapples with feelings toward a lover she longs for despite misgivings. “No one makes me high like you do... no one lets me down like you do.”

It’s the perfect start to the English-based folk artist’s gentle, yet salient album called “No Words Left.” Masterfully mixed, the album’s primary aesthetic feels stripped down — with an emphasis on piano and acoustic guitar parts alongside Rose’s Joni Mitchell and Laura Marling reminiscent vocals — but with the added color of brass and strings elevating the composition.

The album is also carefully paced. The instrumental track “Just a Moment” begins like a lullaby, the guitar softly strumming in. With peaceful interludes, like “Just a Moment” and the appropriately named “No Words Left (Pt. 1),” the album never forces itself along. Rather, it flows gently and patiently.

Though Rose remains delicate throughout, she strikes different tones on each song. In “Solo(w)” her pain is palpable as soft piano crescendos and she sings out, hypnotically and repetitively, “Cause something’s missing/When I am solo, so low, solo, so low.” ″What Does It Take” is pleading, while “Treat Me Like a Women” shows her resolve as she confronts the man who “fires” words at her: “And you treat me like a fool/Or do you treat me like a woman.”

“No Words Left” is melancholy in a way that feels relatable and raw. Rose knows she’s written a collection of blue songs and instead of fighting the inclination, she embraces it. In her closing track, she is good natured as she coos, “Song after song/All about me and my misery. And I’m still blue/so blue.”
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Blue is a color she wears well.

David Gray, “Gold in a Brass Age” (IHT Records)

David Gray’s lively folk record “Gold in a Brass Age” features his signature mix of electronic and folk. Both genres bring strength to the album: folk with its lyrical depth and storytelling style, electronic music with its added push.

The genre-cross works on most songs, as the album grapples with the passing of time.

The energetic, yet delicate “The Sapling” speaks of focusing on growth rather than “the ghosts of better days” with layered vocals and a choir that joins in. Gray’s gruff vocals come in on “Watching the Waves” as he wonders “Just how long can it be/’Till that melody strays,” in a song written after the death of a close friend.

The balance of electronic and folk is masterfully struck in most songs, but some feel forced into this trajectory. Rather than providing Gray a creative tool in the form of genre intersectionality, it at times feels like a chain only holding him back.

The title track, a catchy and thoughtful tune, may have been better served without electronic additions. A cuckoo clock sound effect is used in this song about time and distracts more than enhances the track.

The album is more experimental than Gray’s past work. In “Mallory,” distorted and layered vocals crescendo to an angelic peak resonating underneath Gray’s voice as he sings.
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There’s a sense of searching on this 11-track album that stays light-hearted. The world around him is changing, but, as he sings in “A Tight Ship,” he remains resolved to “dance like no one sees.”