It’s been said by a number of critics and users that this will be the National album that most notably incorporated electronic influences, perhaps a byproduct of Matt Berringer’s Side project El Vey. Personally, I’ve always enjoyed a number of the artists who either incorporate Electronica flourishes in combination with a number of either genre music forms, ‘folktronica’ as an example. Even nu-metal mainstays, Deftones, have distanced themselves from their peers ... read more

The sound of a band finding itself. A little redundant at times but still full of poppy alt and UK post punk songs.

Much like fellow English men in Elbow, Maccabees have built a great formula balancing the adrenaline fueled alternative anthems ready for commercial play, with more muted, introspective tunes. Overall, one of the most consistent bands releasing albums in this newish century.

The band is still struggling to find the inspiration that made their first two albums so great. An artist’s need to grow and branch in new directions is understood, but when it drifts too far from the core sounds and emotions that combined to make earlier releases so good, later career albums like Why Are You Ok just sound so mediocre.

"In A Drawer" with J. Mascis is a return to form with the bonus of the guest’s vocals. Catchy but with the grit and wordplay of old BOH.

When a band wears its influences on its sleeve, it's often looked down upon by critics and 'music enthusiasts'. To me it is always an over reaction. These are influences, not musicians playing in a tribute band. Django Django bring back the sound of The Beta Band but with better pop structure and no slow burners. I love most everything from the Beta Band, but admittedly recognize the dour somds or the ambient like experimentations. Django Django employs the same creativity and blend of sounds ... read more

This is nothing grandiose or new, but it is an entertaining take on retro soul and rock from, although 35 in age, a relative newcomer to the music biz. Yes, it's well worn territory, but having a nominally new take on classic soul is always rewarding to me.

Seeing him live and then relistening to the album front to back made me appreciate the diversity of sounds, moods and genres Sinkane mashes up in a single recording. My rating one year later jumps from a solid 70 to a stellar 85.

With its odd juxtaposition of old timey county steel guitar and neo soul, love lorn lyrics, 'Galley Boys' will catch many off guard with its catchiness.

As Vampire Weekend began to embody a certain "sound" and brand, I thought them doomed creatively. Modern Vampires proves me wrong with a colorful pallete of new sounds and more mature focal points for the lyrics. 'Unbelievers' rivals any track in 2013 as my most favorite.

My favorite reincarnation of the Beta Band delivers a strong second effort, just not as original as their first despite both proudly displaying their influences on their sleeves.

Throwback soul, modern R&B, with a pinch of the blues and new wave. An enjoyable ride through one mans heartache, if that is even possible. It's like dancing while crying.

This is a cut and paste from my JD McPherson 'Let the Good Times Roll' album.

Between Nathaniel Ratliff and JD McPherson in 2015, I got my fill of roots rock meant for listening with a beer raised high. I personally need albums like this every year, especially in summer. The one downfall of Rateliff and his band is that some tracks bleed together too easily. Barn stomper 'S.O.B.' Still might be my favorite track to hear while driving and/or drinking, but never both. Just a little PSA for the ... read more

Between Nathaniel Ratliff and JD McPherson in 2015, I got my fill of roots rock meant for listening with a beer raised high. In McPherson's case, he's not content to remake the 50s throwback rockabilly of his previous effort. Yet, he blends those sounds with some modern production, see 'Bossy', and throws in some slow burners, including the Stax ready vocals on 'Precious'. All around fun listening from to back.

I was one of many how assumed that this would be a record to dismiss as is often the case when frontmen/women launch a solo project. It just sounds too much like their previous works because they are bound by there vocal ranges and often times, the very themes they work with as writers. Perhaps it's a product of how the album was recorded, mixed from leftover Menomena (a sonically fun and complex band) tracks and matched with Matt Berninger's lyrics and voice while on the road, returns a ... read more

The survive the Dan Auerbach production stamp, producing maybe only 2 songs, depending on how close you listen, that bear his signature too strongly including the lead single "Don't Wanna Fight Any More". The rest is a soulful leap into disparate sounds that still embrace Brittany Howard's voice and southern roots without making a sophomore record that could have pigeonholed them into Jam Band oblivion. That said, I still love the first album, I'm just happy they explored the new turf.

Not since A Ghost Is Born (11 years prior) has Wilco embraced a little studio play and made the cleverly simple yet inventive rock and roll they had been known for. Too many years spent coasting on reputation and churning out yatch rock albums for the adult alternative charts was wearing thin for this fan at least. Star Wars is a welcome return.

During their poppier moments, YFs may sound like TV on the Radio, not a bad place to be. Songs such as Nest and 27 rate as some of my favorites of 2015. On tracks such as Sirens or Old Rock N Roll, they still some have elements of TVOTR if they invited their favorite Anticon artists to freestyle on a few tracks. But classifying them as sounding like other artists don't do Young Fathers enough justice. Left field hip hop doesn't get more interesting or accessible without losing its experimental ... read more

So Long might be one of my favorite songs of 2014 sounding like little else that has come out in years, but the album is too uneven, dare I say dull at times to reach that height more than once.

For all the reasons I loved (love) Amon Tobin, Clark creates an electronic puzzle of sounds new and old, hinting at the dance floor but never going all in.

it's old school, Sharon Jones & the Dap Kings old school, but in all the ways that Apple pie a la mode is a classic that one cannot turn down. It doesn't feel like a retread, but instead has a comfortable feel reminding us why Muscle Shoals was so great.

At times I am completely mesmerized and dare I say in love with Jolie Holland's songs. However, she and the band take some indulgences and experiments too far, wearing thin one one's patience and enjoyment of the song. The high moments make this a more than worthy listen. Hopefully my lows will still resonate with other other listeners, but for me, one finger always hovers over the skip button for at least 4-5 tracks.