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  • by Sam Sodomsky
    Each Sunday, Pitchfork takes an in-depth look at a significant album from the past, and any record not in our archives is eligible. Today, we look back at the New York songwriter’s third LP, an album so painterly and poetic that it formed its own self-contained world.
  • by Grayson Haver Currin
    In 1975, the Detroit singer self-released a perfect document of private-press folk. A rich new box set finally reveals more of his story in psychedelic sound.
  • by Dash Lewis
    Drawing heavily from Japanese kankyō ongaku, the Portland ambient duo explores mind-bending sound design and meditative states in a long-form piece at the nexus of the acoustic and the digital.
  • by Arielle Gordon
    Aaron Maine’s latest collection is a pared-back, unpolished mixtape, recorded to his trusty four-track. The lack of digital refinement spotlights the songs’ unexpected rhymes and organic melodies.
  • by Sam Sodomsky
    With an assist from MJ Lenderman, the New Orleans singer and poet fine-tunes his storytelling instincts against a backdrop of bracing heartland rock.
  • by Lily Goldberg
    Paying tribute to a South Carolina town destroyed in the 1950s for a nuclear materials plant, the Durham avant-folk trio's disquieting new album is both a community service and a spiritual offering.
  • by Eli Enis
    Tied to a Supreme merch collab, this 31-track compilation from the chronically inactive witch-house group expands, celebrates, and slightly dampens the legacy of one of the last great millennial mysteries.