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"Allegra Krieger’s ""Art of the Unseen Infinity Machine"", her second full-length album with Double Double Whammy, is a collection of 12 songs that pick at the fragile membrane between life and death.

Krieger’s previous album, ""I Keep My Feet on the Fragile Plane"", hewed more closely to the domestic spaces of city and mind. Rolling Stone regarded the album as “ten songs of heady philosophical meanderings packed with emotional dynamite,” and likened her “finely phrased lyrics” to those of “Joni Mitchell, Leonard Cohen, and David Berman.” Krieger’s existential meditations remain on ""Art of the Unseen Infinity Machine"", however her meandering melodies have taken on a stronger sense of direction. She narrates candidly and assertively; the full-band arrangements never overpower, only offer a robust platform on which Krieger’s voice reaches new heights.

The full band brings a heightened sense of drama to the album’s arrangements, which contrasts the quieter approach of Krieger’s previous LP. There are noisy interludes, jazz-inflected discursions, impactful stops and starts, and occasional spaces for Krieger to stretch out her impressive vocal range (most prominently at the dazzling climax of album stand out “Came”). In ""Art of the Unseen Infinity Machine"", Krieger invites us to a place where transfiguration is not only possible but actively happening. From this place, the beautiful and the banal and the terrible are all laid out before us. And Krieger asks us not to look away. Instead, she invites us to stare down the beautiful and terrible in the world, and to realize that sometimes the only way out is through."

It contains all the signatures of her best lyricism: delicate and precise phrasings, moments that flicker between beauty and banality, meaning that forms through the accretion of observations, memories, and unexpected adages. This is an album that is at once post-theistic and devoted to a relationship with the divine, each song blinking in and out of "the fragile plane," a place Krieger describes as "a middle ground in the universe," both abstract and peaceful, where time, bodies, and names don't exist.

Krieger initially collaborated with Luke Temple and Jeremy Harris to record her vocals and guitar to tape at Panoramic Studios in West Marin, CA. As the album continued to form, Krieger envisioned instruments - like the French and English horn (Nancy Ranger and Priscilla Reinhart), electric guitar (Jacob Drab), and pedal steel (Kevin Copeland) - as characters which would walk in and out of the soundscape. What emerged from conversations with composer Sammy Weissberg, are brass parts that have a dark, almost surreal logic: horns arise to emphasize a word or phrase, fall out completely, only to rush back with dissonant orchestrations that gesture simultaneously toward deterioration and generation.

While Krieger takes inspiration from Elliot Smith's honesty, Judee Sill's cosmic reaching, and Joni Mitchell's sharp noticing, the dream-like association, harmonic dissonance, and angular melodic ascensions in each song are singularly and delightfully Krieger's.

"I Keep My Feet on the Fragile Plane" is a daring collection of songs by an artist who scries with both the cold glass eye of truth and the beating heart of empathy; who portrays life in all its twisted complexities.

Trash Mountain, Lily Seabird’s new LP out April 04, 2025, via Lame-O Records, is her most searching and immediate effort to date. Over nine delicate but sturdy tracks of intimate folk rock, she pares her songwriting down to its most resonant essen- tials.

There’s not a second wasted as she sings
of loss, growing up, and finding your center when things get overwhelming. It’s an album of unwel- come exits and uncertain futures, but there’s resil- iency and hope at its core. Recorded with producer Kevin Copeland (Hannah Frances, Lightning Bug, Allegra Krieger), it’s a testament to finding joy and connection in life’s chaos and confusion.

Lily Seabird is a perceptive songwriter who can channel moments when everything feels raw and overwhelming into something healing and galvanizing. With Alas, the Burlington, VT-based artist's sophomore album, she confronts grief with palpable clarity on tracks that careen from delicate folk to blistering indie rock. While it's her second LP, it serves as a proper introduction to an undeniable and idiosyncratic voice. "Alas, sounds way more like me," she says. "This is the album I wanted to make in the first place." Though Seabird is now known as a solo artist and collaborator in Burlington's vibrant music community as the bassist for Greg Freeman and other acts, her journey started in Pennsylvania when she picked up the saxophone as a kid. At 14, she learned guitar and started performing as Lily Seabird. After a brief stint in New York City playing in bands, she moved to Vermont, which has been her home since 2018. "When I came to Vermont, I was playing solo a lot but then I started a band with Greg Freeman," she says. "Since 2018, it's been me and Greg and a bunch of different casts of characters have been in the band since then it's an ever-evolving thing. It's just us playing my songs."The songs on Alas, came from a particularly unmoored period for Seabird. "I wrote this album in 2021 and 2022 on the road, trying to figure out who I am," she says. "A lot of them also deal with the time when my close friend passed away. The title Alas, meant a lot to her." Even if the songs don't always directly tackle this specific loss, there's a sense of mourning in how relationships change and dissolve. Take "Grace," a reflection on female friendship, which features the lines, "I hope she's happy now she should be 25 / She taught me something that I thought I'd always hide." Elsewhere, the knotty and unpredictable "Dirge" finds her singing, "I don't know if I believe in god / I don't know if I know how to go on." Seabird and Benny Yurco produced Alas, which was recorded at Burlington's Little Jamaica Studios with Freeman and drummer Zack James (Benny Yurco). It's a quietly expansive album full of subdued, organic textures and moods. Songs like "Cavity" are lush and inviting with silky guitar and Seabird's expressive saxophone playing. The 10 songs on Alas, stretch out and leave space for introspection and deep listening with some tracks taking nearly seven minutes to mesmerizingly unfold. It's a remarkably assured and vital statement from one of the most promising new songwriters alongside peers Merce Lemon, Squirrel Flower, and Allegra Krieger."The album is about loss, coming of age, and sadness but there are also all these moments where happiness takes over," says Seabird. "It can be two things at once: life isn't just pain and sadness, there's also joy. They can all exist at the same time. Alas, is an expression of grief but it's also for letting go."