The Underground Sound of Emerson College
Kerrin Connolly is Boston-based artist who self-produced her third album Simpleton, which was released February 20, 2026. Each of her previous albums follows a whimsical outlook on life and mundane struggles in a distinct bedroom pop style, but this new album delves completely into the fantasy world through an alternative pop rock lens.
If soul music had a fairy godmother, it would be Minnie Julia Riperton-Rudolph.
The Bonnie and Clyde of rock ‘n’ roll are Sid Vicious—mediocre-at-best bassist of the Sex Pistols—and Nancy Spungen.
My Love Song for You – Nile Rodgers Chinatown – Wild Nothing Feeling of Love – Phylliss Bailey La La Love You – Don Mclean Watch Me – Labi Siffre Surrender – Suicide Acolyte – Slaughter Beach, Dog Our House (Demo) – Graham Nash, Joni Mitchell The Dress – Dijon First Day of My Life…
Happy Valentine’s Day on behalf of us here at milk crate! Enjoy these sweet and (mostly) short picks!
Something in the Way Festival is a hidden gem in the festival world, bringing out the best of all types of alternative music. Furthermore, it stands as a reminder of the importance of the alternative scenes people have made throughout the past decades.
At this point in their career, By Storm, composed of rapper RiTchie with a T and producer Parker Corey — both formerly of the group Injury Reserve — are a duo defined almost as much by the mythology surrounding their music as the music itself. Since the 2021 release of Injury Reserve’s earth shattering By The Time I Get to Phoenix and the group’s subsequent dissolution/reformation into By Storm, it’s become common practice to wax poetic about their music’s innate connection to grief, about how the sporadic, confrontational sound of that final record so effectively embodied the devastation of post-mortem anguish like little hip-hop before it ever could — and that’s not denying that By The Time I Get to Phoenix was anything but an album about grief.
In the landscape of left-field indie music, few cities are sparking as much intrigue as Copenhagen, Denmark. A recent surge of talented artists has put the Danish capital on the map, pioneering a distinct sound that fuses ethereal, dream-pop qualities with electronic experimentation. The rise in global recognition is no coincidence—it’s the result of a rich, collaborative network fueled by a DIY philosophy.
Everything about the Savonlinna-born group’s ethos and aesthetic is drawn from the esoteric, from their uncanny, unexplainable album covers to the magical, free-form quality of their music, which can veer from weightless ambient ballads to chip-tuned psychedelic folk to full-on electronic club-thumpers with minimal downtime. The group often sounds like they’re tethered between this reality and the next, making music that appeals as much faeries as it does to regular human beings — not to mention that nearly every picture of the band looks like it could have — or may have — been taken in a dilapidated woodshed in the dead-center of Lapland.