Brian Joseph Burton, also known as Danger Mouse, has been a prominent producer for the past two decades.

When Superorganism first started making noise on the indie scene back in 2017 and 2018 they were imagined as “the Internet’s band,” a group whose cut-and-paste indie pop, hyper-online references, and patchwork songwriting approach captured the era’s manic online culture.

If you’re at all familiar with Taylor Vick’s solo project Boy Scouts (2019’s Free Company is a fine place to start) and her achingly woozy constructs, the first thing that pops in your head is probably not that she could sound even better fronting a band.

When Brian Eno (credited with “synthesizers and treatments”) left Roxy Music after the touring cycle for their incredible second LP, For Your Pleasure, in 1973, the band was at a crossroads.

Since King Princess debuted in 2018, she has come to represent a new breed of pop star.

The second record of 2022 from Nashville-by-Detroit rock star Jack White, Entering Heaven Alive represents a clear departure from the wacky experimentation of the first, Fear of the Dawn.

It is only fitting that Maggie Rogers recently graduated from Harvard Divinity School, as her sophomore release has proven her the indisputable patron saint of millennial pop.

Throughout her recording career, now over a decade old, Katie Alice Greer has always been a provocateur, but that has just made her ahead of the curve.

The decidedly problematic Jack Kerouac was at least correct when he wrote, “The road must eventually lead to the whole world.”