Reviews - Page 9

Review: Pylon’s Final ‘Live’ Set Before Their Hiatus Was Ahead of Its Time

Every scene has a spirit. In New York and Los Angeles, it’s all about competition, turf wars fought with guitar riffs and unique aesthetics, while…
Zoe Camp / July 20, 2016

Review: On His Major-Label Debut, Clams Casino Is ’32 Levels’ and Then Some

Clams Casino is not, in the strictest sense, a hip-hop artist. But his influence over and relationship with the sound of the genre’s past decade…
Paul Thompson / July 20, 2016

Review: BADBADNOTGOOD Refute Their Name Completely on ‘IV’

In the language of modern jazz, sonic references to different historical periods inherently fail to say anything new. As such, it’s almost essential that jazz…
Justin Joffe / July 19, 2016

Review: Elysia Crampton and Friends Throw Trap and New Age Into a Blender on ‘Demon City’

Disorientation is the name of Elysia Crampton’s game. This Virginia-based producer is a genre-fusion wunderkind, and her official and unofficial catalogs are riddled with stretches…
Raymond Cummings / July 18, 2016

SPIN Overlooked Albums Report: The Goon Sax and Let’s Eat Grandma Are Teenagers of the Year

Welcome to the dark underbelly of the pretty unfair industry cycle that shoves Radiohead and Queen Bey and Views and that Apple Music independent contractor Chance…
SPIN Staff / July 15, 2016

Review: ‘Blank Face LP’ Is ScHoolboy Q’s Dark Night of the Soul

It's hard to make grand pronouncements about ScHoolboy Q. He's indebted to many things — many parts that don't define him as a whole. As…
Kris Ex / July 15, 2016

Review: Dyke Drama Shed Tears and Shred Ears on ‘Up Against the Bricks’

The stripped-down side project is a time-honored punk tradition, an outlet for musicians to elucidate their fury with greater clarity, or dive into topics that…
Annie Zaleski / July 14, 2016

Review: ABRA Turns a ‘CRYBABY’ Into a ‘PRINCESS’ on Her New EP

One of pop music’s most romanticized tropes is the young woman wisping an en garde at the dangers and splendors of the nightlife and floating over them,…
Brian Josephs / July 14, 2016

Review: Respect Good Charlotte’s ‘Youth Authority’

Pop-punk has always been considered a genre where progress has a ceiling. In the mid-'00s, the golden age of the largely teenage phenomenon, bands could…
Maria Sherman / July 12, 2016

Review: The Paranoid Style Make the Trump-Era Send-Up of the Year on ‘Rolling Disclosure’

"American politics has often been an arena for angry minds." So wrote Richard Hofstadter in "The Paranoid Style in American Politics," his seminal 1964 Harper’s…
Jason Gubbels / July 11, 2016

Review: With ‘Cheetah,’ Aphex Twin Isn’t Just Back, He’s Prolific Again

At its essence, the act of record-reviewing becomes sort of a pass-fail proposition: If anyone’s reading, they mostly just want to know if they should…
Dan Weiss / July 8, 2016

Classic Reviews: The Avalanches, ‘Since I Left You’

This review was originally published in the October 2001 issue of SPIN. In honor of the release of the Avalanches' long-awaited sophomore album, Wildflower, we've republished…
Simon Reynolds / July 8, 2016

Review: Since They Left Us, the Avalanches Found a World Not All That New on ‘Wildflower’

So many ways to counter the sophomore slump, and the Avalanches chose the most difficult one. It didn’t have to be like this. The time-release…
Brad Shoup / July 7, 2016

Review: On ‘Nice as F**k,’ Jenny Lewis’ New Band Is Just Okay as F**k

One thing Jenny Diane Lewis is not, is a minimalist. Take one of her absolute greatest compositions in a crowded canon: 2004’s "It’s a Hit."
Dan Weiss / July 6, 2016

Review: TV on the Radio, ‘Return to Cookie Mountain’

This review originally ran in the June 2006 issue of SPIN. In honor of the tenth anniversary of TV on the Radio's Return to Cookie Mountain,…
Dennis Lim / July 6, 2016
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