Reviews

Review: Aly & AJ’s Ten Years Is a Smart, Slick Reintroduction

After a decade-long hiatus that seemed more like a permanent break, one-time Disney actors turned sitcom turned network sitcom mainstays Aly & AJ have made…
Liz Cantrell / November 21, 2017

Review: In Embracing Evil on Reputation, Taylor Swift Has Never Sounded More Free

The opening page of Taylor Swift’s Reputation magazine—the print companion to her new album Reputation, available for…
Jordan Sargent / November 14, 2017

Review: James Holden’s The Animal Spirits Is an Ecstatic Fusion of the Electronic and Acoustic

"Incantation for Inanimate Object" is the name of the opening track on The Animal Spirits, the latest album by James Holden. The track title doubles…
Andy Cush / November 13, 2017

Review: Gunn-Truscinski Duo’s Bay Head Is a Captivating Testament to Their Musical Kinship

Steve Gunn is a journeyman of folk, rock, and experimental music. Over the last decade and change, he has released quietly contemplative albums as…
Andy Cush / November 8, 2017

Review: Kelly Clarkson’s Meaning of Life Is a Puzzling Return to the Start of Her Career

Few successes in pop music have been as hard-earned as Kelly Clarkson’s; the story of her career is as much about fighting industry crud at…
Katherine St. Asaph / November 8, 2017

Review: Fever Ray Wants to Love and Be Loved on the Exhilarating Plunge

On a recent episode of the liberal comedy show Broad City, protagonist Ilana Wexler faces a very contemporary problem: She hasn’t been able to orgasm…
Arielle Gordon / November 2, 2017

Review: Julien Baker’s Turn Out the Lights Is a Devout Portrait of Painful Sadness

Turn Out the Lights, Julien Baker’s second solo album and Matador Records debut, marks her formal entry as a boldface name in the indie rock…
Anna Gaca / October 27, 2017

Review: Weezer Show Their Age on the Formulaic Pacific Daydream

Imagine for a moment that you’re Rivers Cuomo. After a two-album experiment producing shiny pop songs, which largely disproves the hypothesis "maybe Weezer should be an…
Arielle Gordon / October 26, 2017

Review: Jessie Ware Masters Her Vulnerability on the Captivating Glasshouse

No one does tasteful better than Jessie Ware, for better or worse. A few years ago, Ware's signature song was "Running," a startling…
Katherine St. Asaph / October 23, 2017

Review: The Con X Is a Worthy Tribute to Tegan and Sara

A decade ago, some critics wrote off Tegan and Sara’s The Con for lacking queerness, "genuine" fragility, and material the White…
Monique Melendez / October 20, 2017

Review: Destroyer Changes Costumes Once Again on the Alluring ken

Every Destroyer album is defined by a mélange of stylistic quirks that are distinctly bottled up in Dan Bejar’s vocal takes, and amount to what makes…
Winston Cook-Wilson / October 20, 2017

Review: Courtney Barnett and Kurt Vile Sound Like Soul Mates on the Charming Lotta Sea Lice

The transcontinental pairing of Courtney Barnett and Kurt Vile makes an immediate, intuitive kind of sense. Both are wry, casually thoughtful songwriters with immediately recognizable…
Andy Cush / October 19, 2017

Review: St. Vincent Is Unabashedly Unrestrained on the Futuristic MASSEDUCTION

In the video for "New York," the first single from St. Vincent's new album MASSEDUCTION, Annie Clark meets us styled like a member of the Addams…
Jeremy Gordon / October 18, 2017

Review: Beck’s Enjoyable Colors Is His Most Professional Pop Album Yet

Those expecting Colors to be Beck’s return to pop should ponder how limited their definition of pop is. After all, his previous record—2014’s…
Brad Shoup / October 13, 2017

Review: Your Body Is Not Ready for Kelela’s Take Me Apart

Though Kelela’s art proudly exists left-of-center, she’s never come off like a peculiarity or a novelty. Her influences—underground bass, turn-of-the-millennium R&B, post-dubstep chaos—meld…
Brian Josephs / October 6, 2017
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