Young Enough introduces new moods and textures without tamping down the band’s irrepressible likeability.
Better Oblivion Community Center is the kind of warm and fuzzy record that provides listeners with a soul-lifting ending no matter which path they choose—to collapse into the arms of its devastating lyrical woe or to jump onstage with Oberst and Bridgers and bask in its giddy musical benevolence.
On U.F.O.F., Big Thief embrace their more subtle and mystical sides while capturing a wider array of landscapes.
As has been the case upon nearly every release since Alligator, The National have put out another album that could easily be argued as their best—and it may be easier to make that claim now than ever before.
Maggie Rogers is a pure pop star and a deserving one, at that. She’s self-assured in a way other radio stars aren’t, never afraid to fold in her folk background and do whatever she wants. And you just can’t help but root for her.
WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? has its faults, not quite hitting its full potential, but it gets damn well close, delivering an infectious record for the post-party hangover.
An imaginative indie-pop chronicle of millennial malaise.
Dedicated could’ve easily been either a woebegone heartbreak record or a carefree, lovestruck free-for-all had it been dreamt up by someone else. Instead, thanks to Ms. Jepsen’s talent for processing feelings, it’s an intersection of those two ends of the pop spectrum and a daring display of chart-topping sounds from across the decades.
Jacklin clearly had to sort through mountains of wreckage to arrive here, but the album’s autobiographical nature is what makes it so affecting ... in recognizing the non-exclusivity of her experiences, she made something singular.
Her music and her persona may be inextricably entwined, but it’s a delightfully fun package.
Tyler attempts to up the ante on IGOR and he succeeds to a large extent.
Sharon Van Etten was already one of the great lyricists of the ‘10s, but with this breathtaking new project, she’s proved an artistic pliancy her contemporaries may not possess. She hit her stride with Are We There, but here she’s not even on the ground.
Now that we’re finally granted a listen to what he’s been working on for over half a decade, it’s simply impossible not to wonder what happened and where they lost their way, culminating in a major disappointment for perhaps the most anticipated indie rock album in recent memory.
Titanic Rising ... finds Mering edging her peculiar psych-folk closer than ever to the sound of traditional pop music. For someone with a documented predilection for idiosyncrasy and experimentation, she sounds completely at ease in these new songs, and ready for bigger things ahead.