Definitely an enjoyable record that takes some instrumentation chances as it progresses. It's an easy listen, but a sense of unease sometimes permeates the record that adds some necessary color.

Never listened to this genre before. Makes me want to dig in further. Exciting, abrasive, chaotic, and fun.

A lesser variation on Arctic Monkeys.

Makes completely unexpected decisions. But each decision makes sense.

It's nice, but easily forgotten.

Completely forgot that I listened to this album.

Eh. Totally forgettable. Nice moments from time to time but nothing you want to hear again.

A mix of surf rock instrumentals with 50s pop inspired songs makes for a fun, catchy listen. The inclusion of those instrumentals, however, feels like a gimmick.

Ugh. On first track: interesting stuff. On second track: okay, well, this sounds like the last one. On third track: I guess this is their thing? Maybe it'll change? Last track: They only have one idea.

Pretty melodies and synth-pop sounds but also pretty forgettable.

This is a nice record. Nothing terribly egregious about this record but it does run long and the title track doesn't make sense in terms of placement and its overall importance. Still like the record though.

Surface-level lyrics and a self-deprecating sense of humor, while appreciated, can only go so far. Becomes tedious after a few listens.

Dig it but Mike Patton's vocals irritate me on occasion.

Sleepy...so sleepy...

Doesn't do much for me. Eh.

"Moonshine Freeze," the fourth album by This is the Kit, the alias of British artist Kate Stables, feels like an effortless 42-minute glide. Reminiscent of Nick Drake, Cat Power, and, to my ears, some of St. Vincent's angularity, "Moonshine Freeze" is an intelligent and gratifying record. Tracks like "Empty No Teeth" and "All Written Out in Numbers" showcase Stables's composition abilities while opening track "Bullet Proof" lulls you into a ... read more

This album is strange. I don't know what they're trying to achieve. It's a delicate record with intriguing ideas, but it also showcases a band that feels unsure of what it wants to be.

First, let's put this record in the prog-folk category. At least a tame form of it. Songs like "Track Record," with its awkward tempo-shift, and "A Wild Look" emphasize unconventional melodies and song structures. But they feel unnatural at times. Forced. Other songs ditch any sense of ... read more

I listened to The Telescopes' "As Light Return" while painting my daughter's bedroom. No one else was in the house. For 40-minutes, as I painted the walls a purplish-gray, I could not help myself from looking over my shoulder. "As Light Returns," with its dark psychedelic/spacey/demonic sound, instilled a sense of dread. Even though songs like "You Can't Reach What You Hunger" contain melodic, Velvet Underground sounds, which would seemingly negate such feelings, ... read more

The Last Dinosaur's "The Nothing" is an undeniably pretty album. Lush string arrangements accompany the sparse three-piece over the course of this melodramatic record. Let me say it plainly: the music is good.

Yet there is something equally undeniable: it's infuriating. This album begs to be listened to in the dark as you clutch your old, raggedy stuffed animal and cry over your lost innocence. The vocals primarily contribute to this nostalgic, wistful quality. Typically buried ... read more

HAIM's sophomore album "Something to Tell You" basks in formulaic songwriting. While the album is rife with singable melodies, compelling instrumentation, and heartfelt, albeit a bit trite, lyrics of love lost and gained, each song bleeds into the other as HAIM refuses to deviate from their comfort zone. However, songs like "Right Now" and "Walking Away," although mired in formula, are the best and brightest. Thankfully, the band does deviate on the stand out ... read more