Their sophomore album is smart, well-polished, and cheeky—loaded with more riffs than you can fit into the trunk of a Camaro.
Like one of Lynch’s filmic worlds, ken is elegant and perverse, a reflection on where we came from, and the unbelievable place we seem to have ended up.
For the most part, Sorcerer succeeds, moving their sound forward while maintaining their penchant for detours.
Prog rock is a genre known for disregarding traditional structures and often failing to land perfectly, so King Gizzard drag it out of the basement and into broad daylight with Polygondwanaland to make every triumph and flaw visible.
Vancouver’s the Courtneys capture the shambolic spirt of New Zealand bands like the Clean and write effortlessly catchy songs about heartache and longing.
Bolstered again by the louche and ravaged voice of singer Greg Dulli, the latest from the indie rock icons is delightfully stuffed with romance and rancor.
While lacking the close mic’d intimacy of her early work, Out in the Storm is equally immersive, with songs that play like fiery exorcisms. It proves that Crutchfield’s music can retain its honesty while aiming at larger audiences, gaining its power from the raw, relentless energy that’s always fueled her best songs.
More so than Forgiveness Rock Record, Hug of Thunder presents Broken Social Scene as a rock band making rock songs, a coherent montage rather than a patched-together highlight reel.
Girlpool's sound gets bigger on their sophomore LP, but Cleo Tucker and Harmony Tividad’s voices still sit center stage in all their vulnerable glory.
Guided by a more mature sound, Infinite Worlds is the rock music we need nowadays, when it seems like home, wherever it might be, is getting farther away.
Put aside the inclination to strip it for singles, and Crack-Up’s generosity can feel bottomless. Rather than a show of contempt for the confines and craft of a three-minute pop song, Crack-Up is one of trust, applying its harmonic and textural gifts with the same free-flowing intuition as Joanna Newsom’s Ys or Grizzly Bear’s Yellow House.
Priests’ debut expands into a rich diorama of stinging guitar, funk, yearning indie pop, and jazz; there hasn’t been a punk debut this certain and poised since Savages’ Silence Yourself.
Capacity is a remarkable record, one that proves that Big Thief are not a one trick pony, they are the full circus.
The obsessive studio work of Adam Granduciel creates a hermetic experience like no other. A Deeper Understanding is his most layered and meticulous album, a twilight world in which to lose yourself.
The world is a filthy, utterly debased place, his music suggests, but there are rewards of sorts for those determined to survive it. In this spirit, The OOZ drops at our feet like a piece of poisoned fruit, a masterpiece of jaundiced vision from one of the most compelling artists alive.