Tom Fenwick
Despite having quite possibly the worst band name since the advent of Catfish and The Bottlemen, North Carolinian duo Mat Cothran and Delaney Mills – aka Elvis Depressedly – have produced an album of spare beauty.
10y
He’s crafted the soundtrack to sunny carefree days, a joyous and inventive album that evokes the past, but feels thoroughly modern
11y
This compilation is an undoubtedly comprehensive overview of the scene and—while perhaps a little obscure in places for the casual listener—is a dream come true for aficionados of deep cuts and rare grooves.
12y
Ultimately, with too few albums to warrant a truly outstanding collection and a top-heavy chronological ordering the hits may be direct, but the death feels painfully slow.
12y
Old doesn’t sound like anything approaching a conventional hip-hop record—and in a year when the majority of rap’s big hitters failed to deliver, it couldn’t feel more indispensable.
12y
While this isn't Wild Nothing stalling, Empty Estate never coalesces into anything as confident as his previous releases, leaving the impression that for now he's running on the spot.
13y
Acid Rap succeeds for all the right reasons a mixtape should, finely balancing an idiosyncratic style, taught rhymes, emotional sincerity and rich production.
12y
Unlike their earlier work Exai is not a stylistic paradigm shift, feeling at once familiar, contemporary and futuristic, and allowing their sound to shift and expand on foundations built twenty years prior.
13y
With Beams, Matthew Dear has created his most intoxicating, accomplished and immediate paean to all that has come before him and everything that now stands in front of him.
13y
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