Reviews

Review: Hudson Mohawke Is a Hard-Hitting Chameleon on ‘Lantern’

"I don't know if you've heard my older material, but it's quite different," Hudson Mohawke said in an interview last year. For much of hi…
By: Harley Brown / June 16, 2015

Review: Neil Young Can’t Make His Passion Signify on ‘The Monsanto Years’

Neil Young does whatever the hell he wants. There's a precedent for this in his long, prolific career — now approaching forty solo albums —…
By: Ryan Leas / June 16, 2015

Review: High on Fire Refine the Stoner-Metal Blueprint on ‘Luminiferous’

After six albums and 17 years of existence, High on Fire have made their blueprint transparent. The Oakland trio starts its construction on the firm…
By: Colin Joyce / June 15, 2015

SPIN K-Pop Report: Ga-In Subverts Adam & Eve, Lim Kim Pops Smoky Bubblegum

Way back in 1992, a dropout metalhead by the name of Seo Taiji released the first K-pop song: “Nan Arayo.” It was an ambitious me…
By: Jakob Dorof / June 11, 2015

Review: Jenny Hval Fingers the Intersection of Capitalism and Sexuality on ‘Apocalypse, girl’

"Intimacy is beyond rules — that is the very nature of it. If it’s pretty, maybe you’re not close enough." So begins Norwegia…
By: Harley Brown / June 10, 2015

Review: Even Muse’s Idea of ‘Back to Basics’ Is Complicated on ‘Drones’

Sometime after Muse released The 2nd Law — their nose-thumbing 2012 collection of dubstep dalliances, chopped vocal debris, and pure hubris — singer/guitarist Matt Bellamy…
By: Colin Joyce / June 9, 2015

Review: Tove Styrke Rises as a Feminist Pop Queen on ‘Kiddo’

In 2009, Tove Styrke finished third on Swedish Idol and quickly delivered a self-titled album full of the then-untapped promise of mechanized Scandinavian pop. Singles like "Call…
By: Brennan Carley / June 8, 2015

Review: Sun Kil Moon Continues to Sugarcoat Absolutely Nothing on ‘Universal Themes’

At first pass, Universal Themes feels like a winking gag of a title for a new Sun Kil Moon album. Since 2003’s Ghosts of the…
By: Craig Jenkins / June 5, 2015

Review: HOLYCHILD Are Insolent With a Purpose on Feisty Debut, ‘The Shape of Brat Pop to Come’

Vanity capitalization is, in almost every instance, annoying. Demands that your name must have anything but a normal array of upper and lower case letter…
By: James Grebey / June 5, 2015

Review: Florence + the Machine Go Big, Then Go Home on ‘How Big, How Blue, How Beautiful’

There's something very unusual about "Ship to Wreck," the towering first track on Florence + The Machine's third LP, How Big, How Blue, How Beautiful: It…
By: Andrew Unterberger / June 4, 2015
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