Album Reviews
Latest from psychedelic alt-folk act finds them as Califone as ever, which is a good thing.
After a four year absence, Trent Reznor revives the NIN name, and the industrial throb that comes with it.
Indiana post-punks strip away some of the noise to reveal stronger melodies on latest offering.
On her latest, Case taps into some emotional vulnerability and comes out swinging.
The Dodos’ fourth album is built on loss and grief, counterbalanced by big guitar hooks.
On their fourth album, Glasgow post-punks are simultaneously turning out great tunes and stuck in an odd spot.
On their fourth album, the San Diego-bred post-punks find more inspiration from jangle pop.
Arguably the emcee with the most talent in the Odd Future crew, Earl makes his triumphant return.
Memphis/Arizona space punks get heavy and trippy on their Sacred Bones debut.
Montreal group follows a spunky, off-kilter debut with a sleek, icy stunner of a follow-up.
On their third album, Seattle’s Moondoggies step up their folk-rock into good old-fashioned rock.
Bay Area rocker’s fifth album in three years is a more laid-back acoustic pop record.
UK producer Matthew Barnes’ debut full-length stretches his extremes while staying true to eerie atmosphere.
Belgian hardcore outfit creates a mystifying middle ground between crust and menacing metal on second album.
Ernest Greene’s synth-based pop tunes still sound lush and dreamlike, if not particularly momentous.
Recorded in Iceland, Barwick’s third album finds her zeroing in on details while expanding her sound.
Dean Spunt and Randy Randall continue to get lost in atmospheric soundscapes on their third full-length.
There’s both darkness and swagger in this hardcore act featuring one half of black metal band Bone Awl.
Superchunk’s deal with loss and grief through poignant songwriting on their tenth album.
Perth, Australia group continues their psych-rock trip on their brief but effective fifth album.