Reviews - Page 133

Caithlin de Marrais, ‘Red Coats’ (End Up)

On her solo debut, Caithlin de Marrais' distinguishing characteristic isn't that she was the frontwoman for emo vets Rainer Maria, but that she was the…
Theon Weber / November 8, 2011

Cubic Zirconia, ‘Follow Your Heart’ (Fool’s Gold)

The nu-disco subgenre has inspired plenty of dance outfits to indulge their eclectic inclinations, but rarely do you find a frontwoman with a voice as…
Puja Patel / November 8, 2011

Buraka Som Sistema, ‘Komba’ (Enchufada)

Whether or not you believe the claim that Angola's kuduro dance style was inspired by Jean-Claude Van Damme's stiff onscreen movements, the rhythm itself is…
Richard Gehr / November 8, 2011

Angels & Airwaves, ‘Love: Part Two’ (To the Stars)

Handsomely produced, energetically performed, and crushingly familiar, the latest epic from blink-182 vet Tom DeLonge's other band follows last year's free download Love with another…
Jon Young / November 8, 2011

Lateef the Truthspeaker, ‘Firewire’ (Quannum Projects)

Lateef's solo debut feels like an afterthought ?following two decades of collaborations with Quannum homies Lyrics Born (as Latyrx), Chief Xcel (as the underrated Maroons),…
Mosi Reeves / November 8, 2011

Joker, ‘The Vision’ (4AD)

Even as dubstep breaks out in the U.S., its biggest names buck against the form: James Blake now favors torch-song balladry over cabinet-quivering bass, while…
SPIN Staff / November 8, 2011

Atlas Sound, ‘Parallax’ (4AD)

Solo acoustic guitar. Two-thirds of the way into the astral-folk voyage "Terra Incognita," on Bradford Cox's third record as Atlas Sound, the only sound you…
Marc Hogan / November 8, 2011

Summer Camp, ‘Welcome to Condale’ (Apricot/Moshi Moshi)

Inspired by John Hughes' imaginary town of Shermer, Illinois, singers Jeremy Warmsley and Elizabeth Sankey teleport from their London base to "Condale, California," the equally…
Barry Walters / November 8, 2011

Tycho, ‘Dive’ (Ghostly International)

Divesounds exactly like the music you'd expect from a San Francisco–based graphic designer who shares his pseudonym (Brahe) with the 16th-century scientist who revolutionized the…
Eric Harvey / November 8, 2011

Meshell Ndegeocello, ‘Weather’ (Naive)

After kick-starting neo-soul in the '90s, this chimerical bassist shimmied through countless genres as if to dodge and defy any tag -- racial, gender, sexual,…
Barry Walters / November 8, 2011

Zambri, ‘Glossolalia’ (Kanine)

New York's Zambri sisters -- Jessica and Cristi Jo -- have established themselves as sweet pop songwriters who also like to freak out, couching celestial…
Julianne Escobedo Shepherd / November 8, 2011

Mac Miller, ‘Blue Slide Park’ (Rostrum)

Twee, maddeningly joyful, and kicked in a clumsy vernacular from a pedestal of privilege, Mac Miller's Blue Slide Park suggests what would happen if the…
Phillip Mlynar / November 8, 2011

Pusha T, ‘Fear of God II: Let Us Pray’ (G.O.O.D. Music/Decon)

The Clipse's Pusha T doesn't think he's God in the Biblical sense, but he's keenly aware of his greatness. On this revised edition of his…
Mosi Reeves / November 8, 2011

The Fall, ‘Ersatz G.B.’ (MVD/Cherry red)

It's the great contradiction of the Fall's 30-odd-year career that their defiant, genre-hopping post-punk racket has, with repetition, become almost predictable. Or at least predictably…
David Peisner / November 2, 2011

Charlotte Gainsbourg, ‘Stage Whisper’ (Because/Elektra)

French actress Charlotte Gainsbourg's voice is small and unaffected (a stage whisper, indeed), but Beck, her producer-songwriter for 2010's celebrated IRM, tends toward the opposite…
Richard Gehr / November 2, 2011
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