Credit: Photo by Tom Weatherill

Review: Junior Boys Are Smoldering With Lust Beneath Their ‘Big Black Coat’

Junior Boys — the Canadian duo of Jeremy Greenspan and Matt Didemus — rose to prominence in the mid-'00s on a then-unheard of proposition: soul…
Andrew Unterberger / February 9, 2016

Review: Young Thug Is ‘Up’ for Whatever With New Mixtape

The video for "F Cancer (Boosie)," the first single from Young Thug’s latest mixtape offering, I’m Up, is the best kind of fever dream. The…
Paul Thompson / February 8, 2016

Review: Pinegrove Redefine the Power of Being Uncool on ‘Cardinal’

In the mid-2000s, Pinegrove’s openhearted indie rock could have been huge.  Over the course of the Montclair, New Jersey quintet’s five years of existence, frontman…
Colin Joyce / February 8, 2016

Review: DJDS Unload Their Hearts (and MPC500s) on ‘Stand Up and Speak’

Back when Los Angeles' DJDS were still DJ Dodger Stadium, the underground super-production duo relied mostly on samples to distill house music's lifeblood — a melodic…
Harley Brown / February 3, 2016

Review: Lucinda Williams Drives Around Her Old Haunts on ‘The Ghosts of Highway 20′

Give Lucinda Williams' new album The Ghosts of Highway 20 even a cursory listen and it's quickly apparent the veteran songwriter has death on her…
Brittney McKenna / February 3, 2016

Review: DIIV Empty Everything They’ve Got Into the Winding ‘Is the Is Are’

DIIV’s frontman Zachary Cole Smith describes his band’s second album Is the Is Are in terms usually reserved for divinity. In recent interviews he’s referred…
Colin Joyce / February 2, 2016

Review: For Those About to Yacht, Porches Salute You on ‘Pool’

Slow Dance in the Cosmos, the 2013 full-length debut from Porches, ends with main man Aaron Maine instructing the listener, "Pay no attention while I’m…
Pat Healy / February 2, 2016

Review: Rihanna Doesn’t Know What She Wants But She Knows How to Get It on ‘ANTI’

"F**k me up," the world screams at the godhead Rihanna, but the Rih Most High has decided to make us wait. We might have expected…
Jia Tolentino / February 1, 2016

Review: Eric Prydz Gives Progressive House the ‘Opus’ It Never Knew It Needed

It's been one of the more unusual evolutions in 21st-century dance to see Eric Prydz transform himself from the DJ behind blissfully cheesy chart-toppers (and…
Andrew Unterberger / February 1, 2016

Review: The Black Queen Are the Brutalist Jam and Lewis on ‘Fever Daydream’

If you’ve ever considered the Dillinger Escape Plan’s recent output and wondered whatever happened to the genre-bending ambition that made 2007’s Ire Works one of…
Adrien Begrand / January 29, 2016

Review: Charlie Hilton Is a Dream-Pop Shapeshifter on ‘Palana’

Art-pop singer Charlie Hilton has been relaying a quote in interviews from Hermann Hesse's novel Steppenwolf — "Man is not by any means of fixed…
Rachel Brodsky / January 29, 2016

Review: Bloc Party Take Us to Church on ‘Hymns’

Getting religion doesn't have to mean going door-to-door, or renouncing anything you're not sure is killing you. It doesn't even have to mean deciding there's…
Theon Weber / January 28, 2016

Rihanna’s ‘ANTI’: SPIN’s Impulsive Reviews

Early Wednesday night, just hours after Rihanna released her new Drake collaboration "Work," the Barbadian pop star's eighth album ANTI leaked after a botched TIDAL rollout. Now, refusing…
SPIN Staff / January 28, 2016

Review: Charlie Puth’s Dire ‘Nine Track Mind’ Proves That We Can’t Handle the Puth

Go ahead, blame Wiz Khalifa. Casting about for some kind of hook delivery system to anchor Furious 7’s lugubrious elegy "See You Again," the guy…
Jason Gubbels / January 27, 2016

Review: Sia Escapes Herself a Little Too Well on ‘This Is Acting’

One of the most revelatory treasures of prolific hitmaker/singer/performing wig Sia Furler is her Genius annotation for her most ubiquitous Top 40 tour de force,…
Eve Barlow / January 26, 2016

Review: On ‘Moth,’ Chairlift Are Indeed That Kind of Band, Mama

It makes sense that fire would be a recurring lyrical theme in Brooklyn duo Chairlift's brand of ornately produced pop. Their synths flicker and tease,…
Andrew Unterberger / January 26, 2016

Review: Future Sings the Computer Blues on ‘Purple Reign’

2015 could have ended Future’s career. After years of calling himself an astronaut, Fire Marshall Future, and even Future Hendrix, he embraced a villainy that…
Matthew Ramirez / January 25, 2016

Review: Kevin Gates Needs No Assists to Fuse His Yin and Yang on ‘Islah’

Way back on the intro to his 2012 mixtape Make ‘Em Believe, Kevin Gates boasted, "I got more than one major willing to sign me."
Renato Pagnani / January 25, 2016

Review: Meek Mill’s Career May Be a Pillar of Salt But on ‘4/4′ He Rubs It in Drake’s Wounds

New surprise EP 4/4 isn’t just the first major Meek Mill release without the word "dream" in the title, it’s the first to not have…
Dan Weiss / January 22, 2016

Review: Savages Weren’t the First to Make Love a Battlefield on ‘Adore Life’

Savages' conflicted thesis statement for their seething sophomore LP, Adore Life, lopes into the album's stark black-and-white frame on its flamenco-tinged second track, "Evil": "Don't try to change /…
Harley Brown / January 22, 2016
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