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Soundcheck

The album is the band's first without producer/multi-instrumentalist Chris Walla.

Album review: Death Cab for Cutie’s ‘Kintsugi’

April 1st, 2015

The album is the band's first without producer/multi-instrumentalist Chris Walla.

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    The indie folk artist's latest uplifts even as it distresses.

  • Music

    The British trio's latest is a plodding, derivative exercise in empty rage that blatantly mines from its 1997 smash The Fat of the Land.

  • Music

    These are songs that need to be heard, for present’s sake.

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    Unabashedly wordy and awkwardly charming, the Australian's debut LP is a candid hit.

  • Music

    Some bands don’t need to change to maintain our attention.

  • Music

    It's the indie-pop artist's major label debut.

  • Music

    The album doesn’t shy away from pushing boundaries.

  • Music

    The album was originally meant to be released as a free mixtape.

  • Music

    This is the work of a band perfecting its bewitching abrasiveness.

  • Music

    Has the band scaled back its elephantine sound as a means of moving forward? Of course not.

  • Music

    Josh Tillman's latest features a fictionalized version of his conflicted emotional life and debauched times.

  • Music

    It’s a self-produced collection of pop standards associated with Frank Sinatra, recorded live with Dylan’s band without overdubs.

  • Music

    It addresses her split from Matthew Barney—but don't call it a breakup record.

  • Music

    It’s all so good that you likely won’t fixate on how removed it sounds from the calculated, baroque and wistful Belle and Sebastian of old.

  • Music

    The album sounds massive from a recording standpoint, with layer upon layer of sounds and styles piled within each song in a way that would ...

  • Music

    Bingham is a world-weary journeyman, playing roots music that’s equally comforting and fragile.

  • Music

    Like every Sleater-Kinney album, No Cities to Love sounds like nothing else that came before it in the band’s catalog.

  • Music

    Aside from the "Baby Got Back"-sampled "Anaconda," Minaj's latest is amost entirely wistful and introspective.

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    The 160-square-foot parklet aesthetically mashes up a bus stop and an Ikea dining room.

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