The Darkmonk, ‘True Underlord’ (Metal Face)

One of MF Doom’s notorious Doombots time-warps to the '90s NYC underground for lo-fi beats, clumsy raps.
By: Mosi Reeves / March 13, 2012

Howlin Rain, ‘The Russian Wilds’ (American)

If music were math, if records were the sums of their parts, then the fourth album from crazy-eyed California band Howlin Rain would be one…
By: Grayson Currin / March 13, 2012

Nite Jewel, ‘One Second of Love’ (Secretly Canadian)

Ramona Gonzalez, the Los Angeles-based singer, songwriter, and visual artist behind Nite Jewel, follows a path trod by similarly rising acts like Zola Jesus, Neo…
By: Marc Hogan / March 13, 2012

Bowerbirds, ‘The Clearing’ (Dead Oceans)

Raleigh folk duo widens studio palate, crafts their most memorable bit of gnarled, moonlit strummery to date.
By: David Bevan / March 12, 2012

Bang on a Can All-Stars, ‘Big Beautiful Dark and Scary’ (Cantaloupe)

Accessibly outside neo-minimalism suggesting Philip Glass with bigger balls.
By: Richard Gehr / March 12, 2012

Narrows, ‘Painted’ (Deathwish, Inc.)

Mathcore supergroup (ex-Botch and Unbroken) sounds too angry to calculate infinity, hulks out instead.
By: Kory Grow / March 12, 2012

Jozef Van Wissem & Jim Jarmusch, ‘Concering the Entrance Into Eternity,’ (Important)

Lutist and filmmaker smolder with ragged glory, poised grace.
By: Grayson Currin / March 12, 2012

We Have Band, ‘Ternion’ (Naive)

Aiming for Holy Ghost-esque nu-disco; only succeeding in Human League parody and '05 Bloc Party redux.
By: Puja Patel / March 12, 2012

Fanfarlo, ‘Rooms Filled With Light’ (Canvasback/Atlantic)

Indie team sings what they know ("Shiny Things," "Deconstruction"); frilly, punchy orch-pop trifle.
By: Keith Harris / March 12, 2012

The Magnetic Fields, ‘Love at the Bottom of the Sea’ (Merge)

Tragedy is universal, but not everyone can agree on what's funny, and even fewer people bestow comedy with lasting value. This applies to all the…
By: Barry Walters / March 12, 2012
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