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Page 2
Review: Kurt Vile Levitates on the Desert-Warmed ‘b’lieve i’m goin down…’
Review: Ought Lean Into the Futility of Existence on ‘Sun Coming Down’
Review: La Misma Rebuild Hardcore Out of Scraps on ‘Kanizadi’
Review: Grouper’s Liz Harris Peeks Through the Clouds on Helen’s Debut, ‘The Original Faces’
Review: Destroyer Humanizes Times Square and Follows Your Rose on ‘Poison Season’
Review: Mick Jenkins Obeys His Thirst on the H2O-Obsessed ‘Wave(s)’
Review: Palehound Ties Indie Rock in Knots on ‘Dry Food’
Review: Mac DeMarco Cleans Up His Act on ‘Another One’
Review: Alessandro Cortini Spirals Upward on Luminous ‘Risveglio’
Review: Ashley Monroe’s Songcraft Stays Sharp on ‘The Blade’
Review: Tame Impala Embark on a Flawless Interstellar Journey With ‘Currents’
Review: Matrixxman Proves Technology Is Human After All on ‘Homesick’
Review: Vince Staples’ ‘Summertime ’06’ Is No Picnic, And Gloriously So
Review: Kacey Musgraves Outgrows the Trailer Park on ‘Pageant Material’
Review: High on Fire Refine the Stoner-Metal Blueprint on ‘Luminiferous’
Review: Tove Styrke Rises as a Feminist Pop Queen on ‘Kiddo’
Review: Jason Derulo Is Better Than ‘Bad,’ He’s Good on ‘Everything Is 4’
Review: Unknown Mortal Orchestra Welcomes the Private Into Public on the Kaleidoscopic ‘Multi-Love’
Review: Shamir Can’t Contain Himself on the Year’s Best Debut, ‘Ratchet’
Review: Bassekou Kouyate and Ngoni Ba Shred Without Guitars on ‘Ba Power’
Review: Ciara’s (Lack of) Future Is So Bright She Doesn’t Need Shade on ‘Jackie’
Review: Colin Stetson and Sarah Neufeld Honk and Scrape on ‘Never Were the Way She Was’
Review: Girl Band Blend Disco and Noise-Rock Into Sonic Napalm on ‘The Early Years’
Review: Dwight Yoakam’s Latter-Day Winning Streak Continues on ‘Second Hand Heart’
Review: American Wrestlers Put Listeners in a Lo-Fi Submission Hold With Self-Titled Debut
Review: Follakzoid Goes Into a Post-Krautrock Trance on ‘III’
Review: Courtney Barnett’s Exhilarating ‘Sometimes I Sit and Think, and Sometimes I Just Sit’
Review: Twin Shadow Is Ready for Love on ‘Eclipse’
Review: Will Butler’s Wonky, Tightly Wound ‘Policy’
Review: Cannibal Ox and the Return of Samurai Rap on ‘Blade of the Ronin’
Review: Torche Are So Un-Metal They’re Actually Metal on ‘Restarter’
Review: All Work and No Play for Drake on ‘If You’re Reading This It’s Too Late’
Review: Father John Misty’s Breathtaking ‘I Love You, Honeybear’
Review: All We Are’s Self-Titled, Domestic Disco
Review: Monster Rally and Jay Stone’s Hip-Hop Vacation, ‘Foreign Pedestrians’
Review: Viet Cong Make Like the Last Post-Punks on Self-Titled Debut
Review: Panda Bear Explores the Rabbit Hole on ‘Panda Bear Meets the Grim Reaper’
Review: Death Grips Rise From the Dead With the Explosive ‘Fashion Week’
Review: Charli XCX Punks Us All With ‘Sucker’
Review: Ghostface Killah’s ’36 Seasons’ Is Faster Than a Speeding Bullet
Review: Mary J. Blige’s Organic, Heartfelt ‘London Sessions’
Review: Andy Stott’s Beautiful and Brutal Electronic Epic, ‘Faith in Strangers’
Review: Serengeti’s Emmy-Worthy ‘Kenny Dennis III’
Review: Deerhoof’s Delightfully Wonky ‘La Isla Bonita’
Review: Run the Jewels’ Incendiary ‘Run the Jewels 2’
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Addiction
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Addiction
Capricorn Records: The Rise and Drug-Addled Fall of the Label That Launched Southern Rock
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