reviews

Review: Deafheaven Turn Black Metal All Different Colors on ‘New Bermuda’

Deafheaven have been the subject of many bold proclamations, to the point where merely having any opinion about them is draining. Here is one take…
Andy O'Connor / September 29, 2015

Review: Girl Band Abrade and Explode on First Full-Length ‘Holding Hands With Jamie’

After signing with Rough Trade, Dublin foursome Girl Band could have coasted complacently on their comparatively inoffensive 2012 debut, France 98, but instead, to their…
Adrien Begrand / September 28, 2015

Review: Childbirth Gleefully Skewer Men’s Wrongs on ‘Women’s Rights’

"Feminists don’t have a sense of humor," smirked pianist-polymath and lifelong activist Nellie McKay on her 2009 song "Mother of Pearl," a line that her…
Dan Weiss / September 28, 2015

Review: Disclosure Shoot For the Stars, Land in the Middle of the Road on ‘Caracal’

Disclosure's landmark 2013 debut, Settle, opened with a scorched-earth policy. On "When a Fire Starts to Burn," Guy and Howard Lawrence set a hammering, breakneck tempo for a…
Harley Brown / September 25, 2015

Review: Fetty Wap’s ‘Fetty Wap’ Is as Weird and Catchy as His Hits

Save for deepening the entrenchment of kaleidoscopic, Atlanta-schooled synth work as rap production's de rigueur modality, Fetty Wap's hospitable takeover of the charts over the…
Colin Joyce / September 25, 2015

Review: The Dead Weather Aren’t Anyone’s Side Project on ‘Dodge and Burn’

What Alison Mosshart and Jack White ultimately share is the idea that rock’n’roll means great sound effects above all else. The guitars they adorn their…
Dan Weiss / September 24, 2015

Review: CHVRCHES Explore the Pleasures and Limitations of Synth-Pop on ‘Every Open Eye’

CHVRCHES devote themselves to early-'80s British synth-pop the way some bands devote themselves to the blues. On their sophomore album, the cavernous synths of Tears…
Theon Weber / September 24, 2015

Review: Steve Hauschildt Makes Music for Sleepwalking on ‘Where All Is Fled’

New Age started as a musical genre with a functional purpose. Long before Mike Oldfield was disguising platinum-selling instrumentals in a shimmering haze of gauze…
Colin Joyce / September 23, 2015

Review: Drake and Future Define 2015 Rap for Better and Worse on ‘What a Time to Be Alive’

What a Time to Be Alive is not the best album of 2015, but it is the album that best defines 2015 so far. After…
Matthew Ramirez / September 22, 2015

Review: God Knows Lana Del Rey Tried on ‘Honeymoon’

"Don't Let Me Be Misunderstood," the final song and only cover on Lana Del Rey's wistfully catatonic third LP, Honeymoon, has — like the singer formerly…
Harley Brown / September 22, 2015

Review: Natasha Khan Is Not Out of the Woods on SEXWITCH’s ‘SEXWITCH’

Natasha Khan has always been a bit of a witch. The British singer came out glitter-streaked and face-painted on Bat for Lashes' debut Fur and…
Hazel Cills / September 21, 2015

Review: Kurt Vile Levitates on the Desert-Warmed ‘b’lieve i’m goin down…’

"I could be one thousand miles away / But still mean what I say." That’s a line that many reviews of the latest Kurt Vile…
Kyle McGovern / September 21, 2015

SPIN Overlooked Albums Report: Tenement’s Sprawling Half-Time Punk, Matana Roberts’ Free Sax Collages

We devour music at such a feverish pace that, more and more, great collections of songs fall through the cracks. Over the summer, we caught…
SPIN Staff / September 18, 2015

Review: Destruction Unit’s ‘Negative Feedback Resistor’ Is a Noise-Punk Endurance Test

As the brightest headlamps exploring the New American Heavy Underground, the Arizona punks in Destruction Unit have always been louder than the sum of their…
Colin Joyce / September 18, 2015

Review: Battles Lock Into Holding Patterns on ‘La Di Da Di,’ But Oh What Patterns

Who was the last guitar hero or star drummer? It feels like so long since a band been identified by a chief instrumentalist that you…
Dan Weiss / September 17, 2015

Review: BAIO Fires Off Musical Synapses on Brainy Solo Debut, ‘The Names’

Really smart people are always weird; it’s part of their charm. When Vampire Weekend were just starting out, much of their story revolved around being…
James Grebey / September 17, 2015

Review: Chris Cornell Reaches for ‘Higher Truth,’ But It’s Just Out of His Grasp

Six years later, Chris Cornell has been willing to do just about anything to help people forget his ill-conceived, Timbaland-produced rock'n'B gaffe Scream. Though he's…
Colin Joyce / September 16, 2015

Review: Jess Glynne Needs More Church in Her Wild on ‘I Cry When I Laugh’

Jess Glynne has one of those classic, soulful voices that can be accurately described as "powerhouse," the kind that attracted producer Route 94 to help…
Hazel Cills / September 15, 2015

Review: The Libertines Claw Their Way to Adulthood on ‘Anthems for Doomed Youth’

Now that Carl Barât and Pete Doherty have proven they are capable of collaborating again, they can go away and write a better album than…
Alfred Soto / September 15, 2015

Review: Without Their Late Guitarist, Slayer Are Closer to Shameless Than ‘Repentless’

Given Slayer’s legendary status, a smidgen of deference was to be expected upon the arrival of Repentless, the 11th studio album from the thrash-metal icons.
Kim Kelly / September 14, 2015
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