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This is the work of a band perfecting its bewitching abrasiveness.
Has the band scaled back its elephantine sound as a means of moving forward? Of course not.
Josh Tillman's latest features a fictionalized version of his conflicted emotional life and debauched times.
It’s a self-produced collection of pop standards associated with Frank Sinatra, recorded live with Dylan’s band without overdubs.
It addresses her split from Matthew Barney—but don't call it a breakup record.
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.
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 ...
Bingham is a world-weary journeyman, playing roots music that’s equally comforting and fragile.
Like every Sleater-Kinney album, No Cities to Love sounds like nothing else that came before it in the band’s catalog.
He's back, and he's still funky.
Aside from the "Baby Got Back"-sampled "Anaconda," Minaj's latest is amost entirely wistful and introspective.
Working with various collaborators, Charli touches on everything from attitude-laden electro-punk to pogo-worthy new wave.
The release is the latest in Pumpkins mastermind Billy Corgan's ongoing Teargarden by Kaleidyscope project.
The silver fox's muse has once again steered him in the right direction.
Well, it isn't a total bust ...