reviews

Review: Konono Nº1 and Batida Redefine Trance on ‘Konono Nº1 Meets Batida’

Although one should never underestimate the international pleasures of the big beat, Western festival enthusiasm for Kinshasan percussion ensemble Konono Nº1 remains a rather unlikely…
Jason Gubbels / April 25, 2016

Review: Andy Stott Is Wanted Both Dead and Alive on ‘Too Many Voices’

Andy Stott has always been mercurial, shuffling between slivered breakbeats, decaying dubstep, and a no-man's-subterranean-tunnel in between, where the only living thing was the electricity still…
Harley Brown / April 18, 2016

Review: No More Wires Ever for the Coathangers on ‘Nosebleed Weekend’

The curse of making it look easy is that you get taken for granted. (Duh, right?) You might notice more dynamic shifts in the Coathangers’…
Dan Weiss / April 11, 2016

Review: Tenement’s ‘Bruised Music, Vol. 2′ Is Meat and Potatoes Rock Minus the Potatoes

Guitars aren’t going away anytime soon, but for some reason, we always think they are. Maybe there’s something sacramental about The Riff, which always seems…
Dan Weiss / April 4, 2016

Review: Kaitlyn Aurelia Smith’s Ambient Majesty Melts the Ice for Once on ‘Ears’

A core theme threading Kaitlyn Aurelia Smith’s slowly mushrooming discography is the glory of genesis, of becoming, of flustered incoherence straining towards coherence: Scraps of…
Raymond Cummings / March 28, 2016

Review: Open Mike Eagle and Paul White Get Up Close and Well, You Know, on ‘Hella Personal Film Festival’

If the late, lamented revolutionary poet Gil Scott-Heron was a college-bound poet today, he might be writing raps in the vein of Open Mike Eagle.
Mosi Reeves / March 21, 2016

Review: Underworld Don’t Need Your Nostalgia on ‘Barbara Barbara, we face a shining future’

Underworld's transcendent Barbara Barbara, we face a shining future arrives in one of those windows of release-date alignments with anniversaries that further confirms the cyclical nature of music…
Harley Brown / March 14, 2016

Review: Into It. Over It. See Your ‘Standards’ and Raise Them

"I understand now that you can’t go from a record that has a chorus on every song [Proper], and then deliver a follow-up that has…
Andrew Unterberger / March 7, 2016

Review: Wussy’s Ragged Ohio Racket Hits Biblical Proportions on ‘Forever Sounds’

As one of American indie’s premier songwriting projects, Cincinnati-based five-piece Wussy have set high standards of consistency over their decade-and-change career, patiently amassing a hefty…
Jason Gubbels / February 29, 2016

Review: Lucy Dacus’ ‘No Burden’ Is a Survival Guide to Bending and Breaking

Lucy Dacus’ excellent opening salvo "I Don’t Wanna Be Funny Anymore" recalls that of a very, very different artist: Katy Perry’s "One of the Boys,"
Dan Weiss / February 22, 2016

Review: Matmos Spin Us Right Round, Baby on ‘Ultimate Care II’

Most people become familiar with washing machines before we can walk or talk: large, square objects equipped with hatches that harness the power of water…
Raymond Cummings / February 16, 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: 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: 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: Roly Porter Savors, Then Smashes the Silence on ‘Third Law’

Roly Porter enjoys the silence. The London-based producer's favorite parts of unleashing the sub-bass as one half of U.K. dubstep duo Vex'd (alongside musical partner Jamie Teasdale) were…
Harley Brown / January 19, 2016

Review: Brothers Osborne Take Country to the ‘Pawn Shop,’ Leave With Something New

More than a quarter-century after Uncle Tupelo released the genre-defining No Depression, does the term "alt-country" still mean anything? If Brothers Osborne are to be…
Andrew Unterberger / January 11, 2016

Review: Baroness Rebound From Tragedy With a ‘Purple’ Haze

You’d name your albums after colors too, if you could paint like John Baizley, the RISD dropout who fronts Savannah psych-metal heroes Baroness and designs…
Dan Weiss / December 14, 2015

Review: Lizzo Is Primed for WRRRLD Domination on ‘Big GRRRL Small World’

Lizzo’s hardly the first artist whose personality is so big you can hear her struggling to corral it onto one album, much less one song.
Dan Weiss / December 7, 2015

Review: Erykah Badu Continues R&B’s Longtime Game of Telephone on ‘But You Caint Use My Phone’

In this pop moment of 17-38 squads, Gap Band pastiches, and Queen Adele looming on her throne, how bizarre that 2015’s runaway cultural convergence should…
Jason Gubbels / December 1, 2015

Review: SOPHIE Rebuilds Pop in His Own Mysterious Image on ‘PRODUCT’

Samuel Long earns the rarest of pop boasts: He doesn’t sound like anyone else. This isn’t lost on the once-anonymous, lowercase male who’s adopted the…
Dan Weiss / November 23, 2015
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