Daniel Gard'ner

Tudzin is clearly a formidable talent, and there are plenty of sweet spots on POWER. But there is a darker, more mysterious record within her reach. Maybe then we’ll really get to know her.

There is a grimy charm to a lot of SORCS 80, and the songs will no doubt find new dimensions when taken on the road. But this iteration of Osees feels sapped of some lifeblood.

Wand’s new album, Vertigo, is alive with mysterious alchemy and limitless invention.

No Name is the sound of an artist let loose in the funhouse, doing what he does best. It’s a low stakes record that serves as something of a reset for White; it also reconnects him with his primal muse.

The driving force of Miracle Focus is simple—it’s a celebration of life, a “love letter to bliss,” in Showalter’s words.

The Los Angeles artist may be something of a throwback to the Laurel Canyon singer/songwriter mold, but on her new album, Eight Pointed Star, she pushes toward fresh spaces, twisting the traditional form into something familiar but not quite recognizable.

The album’s warm airiness is achieved through their signature flourish of glowing, densely layered harmonies—a sound so golden that it seems to bathe you in light. It is also a sound like hope, evidence that Cleveland has managed to locate beauty in darkness.

Recorded to tape and mixed and mastered by the brothers using “of-the-era” equipment, the record sharpens their approach to a knife-edge.

Here in the Pitch is another leap forward that sees her pushing into new realms with stunning effect.

But I’ll Wait For You continues to refine their carefully sculpted sound, moving the band toward a studio mastery that is highly impressive but occasionally unsatisfying.

Baldi has clearly carved out his own corner of plainspoken wisdom; on Final Summer, unfortunately, the songs don’t quite do his insights justice.

It’s this kind of sentiment that somehow defines Blu Wav. It’s a dream that at times resembles a nightmare, but Lytle always remembers to wake us up just in time.