Reviews

Smashing Pumpkins Learn Some New Tricks on Shiny and Oh So Bright

When the Smashing Pumpkins followed up 1995’s 10 million-selling opus Mellon Collie and the Infinite Sadness with Adore—one of those shoegaze-y electro-rock albums…
Saby Reyes-Kulkarni / November 15, 2018

Mumford & Sons’ New Album Delta Is Doing Too Much of Everything

After a misguided detour into atmospheric rock on 2015’s Wilder Mind underperformed critically and commercially, Mumford & Sons could have returned to the acoustic singalongs…
Joshua Copperman / November 14, 2018

Ty Dolla $ign and Jeremih’s MihTy Glimmers With Potential

In this era of cross-listed, audience-consolidating joint rap albums, it was only a matter of time before R&B entered the market. Longtime collaborators Ty Dolla…
Tosten Burks / November 10, 2018

NAO’s Saturn Is a Confident and Cosmic Journey of Self-Discovery

NAO begins her second album with a wish: "I hope you find your way." While it's meant as a cordial farewell…
Joshua Minsoo Kim / November 2, 2018

Robyn Mends Her Own Heart on the Subtle, Sparkling Honey

Since the release of her last album, 2010's Body Talk, Robyn has been through a lot—the death of a creative partner, a breakup,…
Maura Johnston / October 26, 2018

Cloud Nothings’ Last Building Burning Only Feels Like a Triumphant Return

As goofy-ass indie rock videos go, Cloud Nothings’ "Modern Act" remains uniquely memorable for the sole fact of debuting on November 9, 2016. Frontman Dylan…
Ian Cohen / October 24, 2018

Pinegrove’s Skylight Is a Pretty Good Album, But Why Does It Exist?

By all units of measurement, Pinegrove spent the first half of 2017 nearing the level of fame most indie bands dream of. The seven-piece New…
Nina Corcoran / October 15, 2018

Fucked Up’s Expansive, Operatic Dose Your Dreams Cements Their Legacy

In their modern era, the mark of a dynamic Fucked Up record could be its ability to evoke confusion: What is going on? But mostly, how…
Maria Sherman / October 9, 2018

What Is Chic in 2018? ‘It’s About Time’ Gives an Unsatisfactory Answer

Wealthy and cool enough to maintain a reputation on the sweet fragrance of thirty years’ worth of fumes, Nile Rodgers nevertheless wanted a new Chic…
Alfred Soto / October 4, 2018

Mudhoney’s Digital Garbage Is Politically Cantankerous But Musically Comfortable

Bands who wouldn’t make a politically charged album about the state of America without an engraved invitation have more or less gotten one in the…
Al Shipley / October 2, 2018

Lil Wayne’s Brilliant Rapping Is Still Worth Cherishing on Tha Carter V

How can the reality of something ever live up to the legend? Lil Wayne’s Tha Carter V—released on Friday after a half-decade of…
Israel Daramola / October 2, 2018

Christine and the Queens’ Unexpected, Deliberate Chris Stands Apart From ’80s Imitators

Chaleur Humaine, the debut album by Héloïse Letissier’s Christine and the Queens, was an improbable breakout. Mainstream straddles the experimental on the regular in France’s…
Katherine St. Asaph / October 1, 2018

Noname’s ‘Room 25′ Is One of the Most Quietly Powerful Rap Albums of 2018

Noname’s artistry initially bloomed out of an eclectic Chicago poetry scene that received far less coverage than the once-ubiquitous drill movement. Honing…
Jesse Fairfax / September 27, 2018

Beak> Approach the Limits of Their Steely Minimalism on >>>

Until recently, Beak> have pretty much done one thing. The Bristol-based trio, led by drummer Geoff Barrow of Portishead,…
Andy Cush / September 26, 2018

Prince’s Playful ‘Piano & a Microphone 1983′ Is an Intimate Peek Into a Master’s Process

One of the most singular offerings among the trove of video rarities that made the rounds following Prince’s passing in 2016 is…
Winston Cook-Wilson / September 24, 2018
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