I'm honestly a sucker for Faerietales, and I could listen to Alexander's voice for hours on end, singing and telling tales. This tale, told in his own Pagan style, is beautiful and heartbreaking in its simplicity, a true joy in any season.

AJ Adams is quite phenomenal. I have followed his music since he became the Heir to the Heatherlands when Heather Alexander retired and returned to the Land of the Fae. Being true to one's self is difficult for many of us, but for those of us (like AJ Adams, and also myself) who are trans, being true to yourself is one of the hardest things we can do. This holiday album is as much a celebration of authenticity as it is of the Season.

This new album from AJ Adams makes renews my joy of the Fae and Faerie Tales from childhood, almost forgotten through the years because of trauma and self torment, despite my vow to never forget. Never forget what brings you joy, and listen to this album. It may help you rediscover a part of yourself.

So, here's my thing about this amazing thing. I've listened to every single thing of Amanda's that I could since 2008. So when I say I failed with this album, you'll understand how big that is. When this came out, I thought I'd get around to it later because I knew a bunch of the tracks on it already. I never got around to it. Now, I've heard it, and I'm broken. In the best way. I lost a dear friend this year, and I'm never going to get over it, but this album helps so much. Thank you, Amanda.

First glance, you might think this is just a bunch of demos, some of which ultimately became the album, and you wouldn't be wrong...but you kind of would be, too.

These might be demos, but some are tracks that never made it to the record, and some, like "Astronaut", didn't really change much from the version shown here. More instruments got added and whatnot, but at its core, it's still raw and visceral, which reflects this whole alternate tracks version. It's a visceral, edgy beginning...

Amanda Palmer & Brian Viglione are amazing creators and performers. Brechtian Punk Cabaret is the style of their music, and Amanda's distinctive voice and stage presence is so phenomenal. From the first time I saw and heard them online, I was obsessed. I still am. This album is a collection of live performances that at this point are iconic, at least they are to me. Incredible vocals by Amanda, massive energy from Brian. Joyous.

This was a MASSIVE thing for Amanda, and for all of us as her fans, at the time of its release. She received so much flack for crowdfunding this album, because it was SO successful. The album itself is a celebration of not just Amanda's talent, but also the community she has created and is such a major part of. This also marks a massive step towards what would become her debut novel, "The Art of Asking", which shows how many insurmountable things become possible when you just ask.

This is a new version of Amanda's original "Theatre is Evil" album, exclusively showcasing her impressive piano skills as well as her vocal prowess in a single instrument, one woman show that blows the audience away with its raw power and stripped down interpretation of these now classic songs. So fresh, so welcome. So AFP of Amanda.

This album holds special memories for me, as it was released about the time that I first heard of Amanda, back in 2008. I remember being on MySpace and reading her stories about her throat surgery and how difficult is was not to be able to verbally communicate while she recovered. The songs are so unique and I'd never heard anything like what she does before, either solo or as part of The Dresden Dolls. She is truly unique and lovely as a person, and as an artist.

Like all of Brendan's music, this track is unique and special. No one song of his sounds like another, and each tells its own unique story. This one may take a little time, and a few listens, before you really get it, or it may come immediately. Either way, take your time and savour this one, because it almost never saw a Bandcamp release, which is explained in the song description. It's a lovely addition to his body of work, and I'm still very happy he's put it out there.

This is the final post "And the Boyfriends" era track that Brendan released for quite a while, as his career took him away from the studio and onto the stage full time for over 2 years. I see this as a sort of love letter to his fans, showing his appreciation for our support over the years, and that despite the amazing opportunities that required him to step away from recording new music for a time, he'd "rather be running with" us.

Another post "And the Boyfriends" era track. This one needs some paying attention to as you listen to it. Trust me when I say read the lyrics as you listen, and not just because Brendan makes a squee-worthy "Twin Peaks" reference.

This is my absolute favourite of Brendan's post "And the Boyfriends" era. The track is very retro and evocative, so catchy, and totally danceable. I've had this song on repeat so many times, and danced the whole time, singing along to the lyrics, which are so easy, but so meaningful.

This collection of covers is breathtaking in its simplicity, yet there's so much emotion in every track. Brendan gives so much in his performances, you can hear it in every note he sings, and this EP is no exception. From the opening notes of "Unravel", you know you're about to go through it. Better have some tissues handy.

It's snappy and cool, a desire for love and connection, every day. :)

This early EP feels very experimental, in the best ways. "Stupid" is iconic, and carries the whole thing very well. Between it and "Winner", there's little to dislike about this EP.

This is like an additional glimpse into the mind of the artist, the icing on the cake that rounds out the recipe. There's any number of cliches I can reference, but suffice it to say that without SOLO, funbang1 would feel a bit less complete. At least, that's how it feels to me.

Besides, who wouldn't want an Orchestral version of "Never Enough"?

This album is so raw and relatable. Jealousy, fire, love, broken hearts, etc. There's also a theme of not being too high for
a thing, or maybe it's really that the character isn't high ENOUGH for the thing. Either way, "And the Boyfriends" has a little something that touches every uncertain time in a relationship.

This EP contains some of the most amazing tracks Brendan produced up to that point. His lyrics to me seem to be all about striving for deeper connections, even in songs like "Never Enough", where it feels like no matter what the character tries to do to make things better with their partner and forge a deeper connection, it's all too much.

"If it's never enough just to say I'm say I'm sorry, but you break it off like you never met me. If it's Never Enough...is it ever Enough?"

It's a joyous return after a 2 year musical hiatus in which Brendan's career was taking him amazing new places, and is so well worth the wait. At once a celebration of love, life, and sex, this track embodies an opening of doors, a desire to be more connected. To me, the placement of Brendan's head is significant, because it means he wants to see and be seen, even in a position where you ordinarily couldn't look at or easily kiss a partner. So much more to think about than a simple horny bop.