On Dry Food’s eight heartbreaking observations, she teeters between aching insecurity and crushing tenderness, rarely allowing sunlight to peak through the clouds.
It’s an artistic success as a literary exercise, and as a wrestling fan it’s hugely gratifying to see a serious artist that I’ve enjoyed for decades take wrestling seriously.
Olsen shares graciously in her music, and if you are willing, Burn a Fire for No Witness will change your world. Or, actually, it will change how you see your world.
A Man Alive is an endearing listen and has all of the elements of a complete work—even pop-centric singles in “Astonished Man” and “Nobody Dies.”
Sheff has succeeded in capturing a specific time and place. It puts you in his world and lets you feel a time when things felt new, with all of the potential and promise that life held before it reared its ugly head.
Even with a few skipable tracks, though, Of Monsters and Men bring an Icelandic exoticism and captivating energy to U.S. audiences on My Head is an Animal.
Above all, Andrew Bird is a highly skilled musician capable of crafting an album full of delightful little moments that make the album worth a fair listen, and more.
On Daze, Vile’s amorphous, ambient drones continue to solidify into sharp shapes with defined edges. While he was always a contemplative songwriter, Vile’s lyrics are now more ponderous and worldly rather than navel-gazing.
Honeybear thrives on the knife’s edge of that enigmatic split personality, as he attempts to reconcile the love-swept optimist with the world-weary wise-ass.
Veckatimest sounds like the final product of a meticulous and exacting evolutionary process—one that has added depth and color to their swooning chamber pop arrangements, crispness to their intricate rhythms and intensity to their careful performances.