Though Helado Negro (aka Roberto Carlos Lange) might not have diagrammed a 12-step program for smiling, the resulting model is informed by a spirit of persistence that one cannot help but be influenced by.
Foals are not yet a bad band, they are still too competent for that, but this record's promise is blunted by its workmanlike enthusiasm.
Atlanta Millionaires Club is an intriguing step up from Webster, and she's given herself permission to proceed in a number of directions from here.
They have been put on this planet to create beautiful, awe-inspiring packages of synth pop and alternative dance, a charge that A Bath Full of Ecstasy more than delivers on.
No Geography, the duo's ninth full-length over 25 years, is a seamless mix that throws in everything plus the kitchen sink.
LEGACY! LEGACY! educates and enrages but also moves, heals, and leaves you full-hearted with hips and shoulders swaying to each track's studied and hypnotic groove.
Granted, Grim Town does stretch on for a few minutes too long. But Monds-Watson still proves that the scenic route to adulthood is no less engaging—and certainly, that extra mile makes the humble closer "Nothing Looks the Same" all the more cathartic.
This is one of those rare records that sounds like a Greatest Hits compilation and simultaneously a summer mixtape while, by the time winter rolls around, we'll be digging deeper into the reflective, cracked mirror lyrics to provide us with a little familiar, melancholic comfort.
Her sound has gained a wide-scope cinematic feel without losing any of its raw intimacy.
Cameron's third full-length sees him take on female perspectives to the toxic masculinity problem.
With mercury in her reach, Wolfe recoiled to find freedom, Birth of Violence's folk and country comfortability hitting her resourcefulness in a tornado.
No doubt a gamble to make a wholesale change in your sound after an acclaimed debut, Tamko delivers a confidently mature album with the sonics to match.
House of Sugar tilts its cap at longtime (Sandy) Alex G fanatics, while opening a wide space for newcomers to dive into.
On Serfs Up the band apparently shifted from cocaine and heroin to Ketamine and weed and, while correlation does not imply causation, this is a record less obtuse than previous offerings, though equally placed on a stage of ugliness.
Twelve Nudes is a protest album ... it's also a fantastic, filthy, punk rock record that offers to cement Furman's growing reputation as one of the best and, coincidentally, most important artists working today.
Health is easily Duncan's most three-dimensional release yet. It's fun, yet sincere, with top-notch compositions and arrangements that make it one of the best indie pop releases of 2019.
Influences begin to blend with the uninspired, and with that, Forever Turned Around fails to pack the punch Light Upon the Lake did so effortlessly.
It's easily their most relaxed and thematically cohesive record, with darker undertones than expected, even for a band known to make emo rock.
Ode to Joy is a seemingly small-scale record; a pale-skinned beauty of an album that has much to say, says it deliberately, often quietly; like a whisper of advice from an old friend reminding you that you, me, we... need to carry on.
Despite these brief lulls, Charli is another winning release from an artist who won't be stopped in pushing pop music into the 22nd century.