Grand Duchy, ‘Let the People Speak’ (Sonic Unyon)

Some future-past-perfect pop jams (and some rocks) escape Frank Black and Violet's surreal wormhole.
By: Melissa Giannini / April 10, 2012

Acephalix, ‘Deathless Master’ (Southern Lord)

Locomotive death metal played as tinny cassette-era slurry, swinging with crustpunker abandon.
By: Christopher R. Weingarten / April 10, 2012

Thieves Like Us, ‘Bleed Bleed Bleed’ (Captured Tracks)

International new-wave robbers present a dark, downtempo soundtrack for post-apocalyptic parties.
By: Melissa Giannini / April 10, 2012

Monica, ‘New Life’ (RCA)

Themed around her recent marriage and showcasing a new Brandy duet, snoozy ballad set plays it sluggishly safe.
By: Barry Walters / April 10, 2012

Alabama Shakes, ‘Boys and Girls’ (ATO Records)

A peculiar intensity of anticipation hounds Boys & Girls. Usually, hot new artists from the retro/roots/garage scene first blow up when the young and cool…
By: Justin F. Farrar / April 9, 2012

Nicki Minaj Plays Surprise Three-Song Set in Times Square

On Friday night, three days after the postponed release of her sophomore album Pink Friday: Roman Reloaded, Nicki Minaj performed a surprise three-song show i…
By: Puja Patel / April 9, 2012

Aaron Freeman, ‘Marvelous Clouds’ (Partisan)

Not an atom of irony to be found on Gene Ween's glorious rediscovery of kitsch king Rod McKuen.
By: Richard Gehr / April 9, 2012

Black Dice, ‘Mr. Impossible’ (Ribbon Music)

Veteran squelch-fuckers sift neon noize and giddy gibberish through Raymond Scott's cartoon powerhouse.
By: Christopher R. Weingarten / April 9, 2012

Beak, ‘Eyrie’ (Someoddpilot)

Chicago post-metal party crashers have songwriting acumen and hardcore bent that 2006's Neur-Isis copycats sorely lacked.
By: Kory Grow / April 9, 2012

Elliott Yamin, ‘Let’s Get to What’s Real’ (eOne)

Forgoing Idol-ized R&B for the real thing, shorty finally gets the grooves to suit his pipes.
By: Barry Walters / April 9, 2012
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