Stephen M. Deusner

The debut album from the late Oakland pastor is a powerful showcase for his guitar work, his singing, and his ministry.

Read Stephen M. Deusner’s review of the album.

Read Stephen M. Deusner’s review of the album.

Read Stephen M. Deusner’s review of the album.

The New Orleans country singer’s heartsick, headstrong third album chronicles the fallout of bad breakup with sly humor and empathy.

The Ontario musician caps a prolific year with his tenth album of 2020: a rip-roaring rock record that draws on a hodgepodge of styles and sounds, from blustery horns to roadtrip folk-rock.

When they recorded 2015’s late-career highlight The Waterfall, MMJ wrote enough material for two albums. If the original was about conflict, the new volume concerns the healing that comes after.

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 revisit the final album of Patsy Cline’s lifetime, a record that helped define country-pop.

It took more than a decade to follow up In the Reins, but its successor reveals musicians who’ve learned to corral swarms of instruments and styles into a newly complex sound.

The Southern California rocker cobbles together a pastiche of 1950s rockabilly, 1960s pop, and old-school soul. At its best, it’s a shot of pure joy, but it never quite transcends its inspirations.

After a solemn post-divorce album, the Nashville-via-Texas songwriter works his endearing wit back into songs about loving someone new and abhorring social trends.

A half-century after the release of Bobbie Gentry’s imaginative second album, the art-rock band revisits it as if in a daze but with the help of over a dozen brilliant singers.

After decades of wandering, the former Court & Spark and Hiss Golden Messenger member follows his wanderlust West again, where he puts down new roots for his soulful folk-rock sound.

One of the first non-grunge bands on Sub Pop showed just how malleable underground pop could be; a quarter-century later, their debut remains a bracing, brazen showcase of rock minimalism.

Mixing a deep knowledge of regional folk traditions with a delight in modern composition, the banjo player and his exploratory new trio are delightfully suspended between earth and outer space

R&B’s weirdest—and most radical—weirdo modernizes his sound on an album that uses Auto-Tune to convey the ecstasies of love, the misery of loss, and the economic desperation of life in Trumpland.

The composer behind Dusty Springfield’s “I Only Want to Be With You” also worked with David Bowie, the Walker Brothers, and Ian Dury. A new compilation reveals how he helped shape 1960s British pop.

The former Dead Confederate frontman surveys his tangled personal history and uncertain future on a Southern glam rock album that is the highlight of a frustrating career.

The comedian, actor, musician, and professional personality recounts a miserable breakup with disarming sincerity and grim humor on a solo debut steeped in rock history.

On her seventh LP, the Canadian country singer spins a wild, Spaghetti Western-style yarn about heartbreak, revenge, and redemption.