Tim Sendra
There are plenty of feelings to chew on and things to think over on Utopia, and Gwenno and her team make it an enticing prospect rather than a daunting exercise in boring introspection or nostalgia.
11mo
Boleros Psicodélicos was a truly special record; it combined the past and present in a way that felt magical and important. Boleros Psicodélicos II is just as magical musically and feels even more important given the time in which it was released.
11mo
The magic is sadly absent from this overly-upholstered, clumsily ornate, and intensely disappointing return trip into the realm of boogie rock.
12mo
Mostly ... the band seem to be tripping down a lighter, more pleasant path and since they do it with the same attention to detail and sense of joyful sonic experimentation they always have, it's definitely a journey worth taking.
1y
The only thing holding Happy Birthday back from being classic is its brevity and maybe lack of ambition; other than that, the quality of the songs, the impact of the vocals, the excellent production, and his ability to reference the past without aping it combine to make it a superb start for a promising solo career.
1y
It's definitely a milestone and a career highlight, as well as a release that anyone who likes real, live breathing and bleeding rock & roll should enjoy.
1y
It's impossible to hear songs as beautifully constructed and sung as "Babylon," as confidently laid-back as "Crushin'," or as much fun as the big beat-inspired "Wave" and not break out in a big fat smile.
1y
Robert Forster is no nostalgia act, he's still making records as intense, meaningful and dangerous as anything he's done in the past.
1y
Ready for Heaven is easily her best record to date; it brings all her talents together in one shimmering, emotionally charged, and musically impressive package.
1y
Natural Pleasure is an intimate delight from a band who always have and always will do exactly what they feel like and make it sound real, real nice.
1y
Tennis have always sought to establish a vibe with their music, something both painfully intimate and dreamily nostalgic. On Face Down in the Garden, they have reached peak vibe and if it is their last album as they have said, they exit at the top of their very specific, very Tennis game.
1y
Catto and Little Barrie belonged together, and Electric War is where they show the world just how inspired and near-perfect that pairing truly is.
1y
Too much of this record sounds like it could have been made by almost anyone and that's not good, and neither in the end is SABLE, fABLE.
1y
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A little more restraint and a little more Elton taking the lead vocals, and the "most part" could have been stricken from that sentence.
1y
It might have made sense for this album to shift away from their core sound, but instead they leap headfirst into it, giving the drums extra punch, the guitars more jangle, and the vocals yet more prominence. To the duo's already perfect sound, they add chirping horn sections, the occasional keyboard flourish, and on one song, guitarist Ray Aggs' dad on banjo.
1y
That she can scale those kind of dramatic heights while also sounding at home on a hushed, acoustic ballad like "Don't Take It Personally" or a goofy pop song like "Sunset Blvd" is impressive, and helps make this her most fully realized album yet and a highlight in a career dotted with really good pop records.
1y
Nation Shall Speak Unto Nation stands with Edwyn's best work, and to still have him making records with songs this memorable, performances this strong, and a voice that cuts right through all the nonsense and makes a beeline for the soul...it's something to be treasured.
1y
It's a shame that a majority of the album suffers from this cookie cutter sameness when at other times SASAMI can craft music that does have some personality and excitement. Just not enough to make Blood on the Silver Screen feel like anything other than a huge misstep.
1y