Album of the Week

Review: Follakzoid Goes Into a Post-Krautrock Trance on ‘III’

The key word most often mentioned surrounding Föllakzoid's new album is "trance." The Chilean trio's music has little to do with the late-'90s club fare…
By: Andrew Unterberger / March 30, 2015

Review: Courtney Barnett’s Exhilarating ‘Sometimes I Sit and Think, and Sometimes I Just Sit’

Courtney Barnett's voice is the first thing you hear on her first proper full-length, Sometimes I Sit and Think, and Sometimes I Just Sit, character-sketching opening…
By: Andrew Unterberger / March 23, 2015

Review: Twin Shadow Is Ready for Love on ‘Eclipse’

George Lewis Jr., better known under his previously guitar-wielding, leather-jacket-wearing alias Twin Shadow, has said that he finished recording his third album, Eclipse, before leaving…
By: Andrew Unterberger / March 16, 2015

Review: Will Butler’s Wonky, Tightly Wound ‘Policy’

Will Butler has always been an outlier. As Arcade Fire's second-most-famous Butler, he's always made being weird seem just as alluring as fitting in. During…
By: Brennan Carley / March 9, 2015

Review: Cannibal Ox and the Return of Samurai Rap on ‘Blade of the Ronin’

See, the big question isn't if Cannibal Ox would ever get back together. Thirty-seven-year-old, gruff-voiced headliner Vast Aire and 35-year-old, introspective sidekick Vordul Mega have…
By: Dan Weiss / March 2, 2015

Review: Torche Are So Un-Metal They’re Actually Metal on ‘Restarter’

It should come to the surprise of absolutely no one that Torche don't consider themselves a metal band. Despite the crunching riffs, thunderou…
By: Andrew Unterberger / February 23, 2015

Review: All Work and No Play for Drake on ‘If You’re Reading This It’s Too Late’

A million vines, Twitter hashtags, and radio snarl-alongs later, it's worth looking back and remembering just what a strange song Drake's "Worst Behavior" was.
By: Andrew Unterberger / February 17, 2015

Review: Father John Misty’s Breathtaking ‘I Love You, Honeybear’

Time has made Josh Tillman bolder, and the older he's gotten, the more introspective and baffling his songs have become. When he debuted the piano…
By: Brennan Carley / February 9, 2015

Review: All We Are’s Self-Titled, Domestic Disco

The press material for All We Are's self-titled debut makes a big deal of detailing where the album was recorded, chronicling the beginning sessions i…
By: Andrew Unterberger / February 2, 2015

Review: Monster Rally and Jay Stone’s Hip-Hop Vacation, ‘Foreign Pedestrians’

The pairing of producer Monster Rally (real name: Ted Feighan) and rapper Jay Stone is the kind of musical kismet that's much rarer…
By: Andrew Unterberger / January 26, 2015

Review: Viet Cong Make Like the Last Post-Punks on Self-Titled Debut

While waiting for "Death," the 11-minute reckoning that closes their first album, consider that out of the ashes of Women have risen something bigger called…
By: Jeremy D. Larson / January 20, 2015

Review: Panda Bear Explores the Rabbit Hole on ‘Panda Bear Meets the Grim Reaper’

Once, an Animal Collective show had no discernable order. Bucking the traditional rise/dip/rise/peak/crescendo continuum that a conventional live performance takes, the group — Avey Tare,…
By: Rachel Brodsky / January 12, 2015

Review: Death Grips Rise From the Dead With the Explosive ‘Fashion Week’

It's hard out here for a troll. Are we to believe that maybe once people were used to Death Grips' musical and extracurricular antics both…
By: Dan Weiss / January 6, 2015

Review: Charli XCX Punks Us All With ‘Sucker’

This year was a good one to be Charli XCX, but what no one ever mentions is that the 22-year-old — born Charlotte Aitchison —…
By: Dan Weiss / December 15, 2014

Review: Ghostface Killah’s ’36 Seasons’ Is Faster Than a Speeding Bullet

About halfway through 36 Seasons, Ghostface Killah gets his face burned off in a crack lab explosion ("Threw him twenty feet in the…
By: Theon Weber / December 8, 2014

Review: Mary J. Blige’s Organic, Heartfelt ‘London Sessions’

Over the past decade, Mary J. Blige has proven her ability to cloak herself in the sounds of the moment, which is why it's hard…
By: Brennan Carley / December 1, 2014

Review: Andy Stott’s Beautiful and Brutal Electronic Epic, ‘Faith in Strangers’

Manchester-based electronic producer Andy Stott saw his mainstream exposure (by jagged, ambient techno standards) double with 2012's Luxury Problems, his first album released since he…
By: Andrew Unterberger / November 17, 2014

Review: Serengeti’s Emmy-Worthy ‘Kenny Dennis III’

The eternal paradox of Chicago rapper Serengeti is that his success is more akin to that of a show like Breaking Bad, and totally anomalou…
By: Dan Weiss / November 10, 2014

Review: Deerhoof’s Delightfully Wonky ‘La Isla Bonita’

Deerhoof is celebrating their 20th anniversary this year — just let that sink in for a minute. Now let's address the ageist elephant…
By: Rachel Brodsky / November 3, 2014

Review: Run the Jewels’ Incendiary ‘Run the Jewels 2′

In a decidedly low-key year for rabble-rousing rap, long-cranky stalwarts El-P and Killer Mike return as the incendiary duo Run the Jewels just i…
By: Dan Weiss / October 28, 2014
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