Album of the Week

Review: Descendents Embrace Oldage on ‘Hypercaffium Spazzinate’

Descendents making an album for old people, by old people: It sounds like a bad joke, even by the SoCal ex-brats' standards. For the better…
Andrew Unterberger / July 25, 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

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: We Really Love the Julie Ruin’s ‘Hit Reset’ (But They’d Rather Not Know)

Bikini Kill were the best punk band of the 1990s — catchy, playful, hostile, and righteous — and their motormouthed frontwoman Kathleen Hanna exited the…
Theon Weber / July 5, 2016

Review: Blood Orange Is Fired Up and Ready to Go on ‘Freetown Sound’

Sometimes it feels like Dev Hynes is everywhere. Excepting even the obvious — the magazine covers for his work as Blood Orange, the late-night television…
Colin Joyce / June 27, 2016

Review: G.L.O.S.S.’ ‘Trans Day of Revenge’ Is a Dish Best Served Fast

In 2015, at least 23 transgender people were murdered in America. Beyond the struggle for basic human rights — like feeling safe in public restrooms…
David Sackllah / June 20, 2016

Review: Mitski Really Gives Emo Something to Write Home About on ‘Puberty 2′

Much as it's reviled by its practitioners, the label of what is or isn’t "emo" has always been more of a, hm, dick move to…
Dan Weiss / June 13, 2016

Review: Brandy Clark Saved the Hits for Herself This Time on ‘Big Day in a Small Town’

A writer singing her own songs isn’t necessarily a singer. Brandy Clark made this point clear on 2013's 12 Stories; the title’s J.D. Salinger allusion…
Alfred Soto / June 6, 2016

Review: William Tyler’s Instrumental Folk Is History on ‘Modern Country’

The weight of the past bears heavy on William Tyler. During a recent performance in the early Gothic Hall at New York City’s Cloisters Museum…
Colin Joyce / May 31, 2016

Review: PUP Proclaim ‘The Dream Is Over’ But Proudly Welcome the Nightmare

Stefan Babcock wants his band dead and it sounds like they might deserve it. The frontman kicks off the first song from PUP’s sophomore LP…
Maria Sherman / May 23, 2016

Review: Marissa Nadler Paints With All the Colors of the Dark on ‘Strangers’

Midway through Marissa Nadler’s exquisite seventh album Strangers, she pens an ode to "All the Colors of the Dark." Gently singing over hypnotic keyboards and…
David Sackllah / May 16, 2016

Review: Jessy Lanza Does Retro-Futurism Proud on ‘Oh No’

Through a creative partnership with Jeremy Greenspan of Junior Boys, the Hamilton, Ontario-based Jessy Lanza quietly made a name for herself in 2013 by signing…
Adrien Begrand / May 9, 2016

Review: Homeboy Sandman Is the Last Backpacker Standing on ‘Kindness for Weakness’

Kindness for Weakness probably isn't the best Homeboy Sandman album, though it may be. One of the many things we can hope to remind ourselves in…
Dan Weiss / May 2, 2016

Review: Konono Nº1 and Batida Redefine Trance on ‘Konono Nº1 Meets Batida’

Although one should never underestimate the international pleasures of the big beat, Western festival enthusiasm for Kinshasan percussion ensemble Konono Nº1 remains a rather unlikely…
Jason Gubbels / April 25, 2016

Review: Andy Stott Is Wanted Both Dead and Alive on ‘Too Many Voices’

Andy Stott has always been mercurial, shuffling between slivered breakbeats, decaying dubstep, and a no-man's-subterranean-tunnel in between, where the only living thing was the electricity still…
Harley Brown / April 18, 2016

Review: No More Wires Ever for the Coathangers on ‘Nosebleed Weekend’

The curse of making it look easy is that you get taken for granted. (Duh, right?) You might notice more dynamic shifts in the Coathangers’…
Dan Weiss / April 11, 2016

Review: Tenement’s ‘Bruised Music, Vol. 2′ Is Meat-and-Potatoes Rock Minus the Potatoes

Guitars aren’t going away anytime soon, but for some reason, we always think they are. Maybe there’s something sacramental about The Riff, which always seems…
Dan Weiss / April 4, 2016

Review: Kaitlyn Aurelia Smith’s Ambient Majesty Melts the Ice for Once on ‘Ears’

A core theme threading Kaitlyn Aurelia Smith’s slowly mushrooming discography is the glory of genesis, of becoming, of flustered incoherence straining towards coherence: Scraps of…
Raymond Cummings / March 28, 2016

Review: Open Mike Eagle and Paul White Get Up Close and Well, You Know, on ‘Hella Personal Film Festival’

If the late, lamented revolutionary poet Gil Scott-Heron was a college-bound poet today, he might be writing raps in the vein of Open Mike Eagle.
Mosi Reeves / March 21, 2016

Review: Underworld Don’t Need Your Nostalgia on ‘Barbara Barbara, we face a shining future’

Underworld's transcendent Barbara Barbara, we face a shining future arrives in one of those windows of release-date alignments with anniversaries that further confirms the cyclical nature of music…
Harley Brown / March 14, 2016
Page 1 of 5