Reviews

Review: Open Mike Eagle’s Righteous Brick Body Kids Still Daydream Weighs the Human Cost of Urban Renewal

On his latest album, Brick Body Kids Still Daydream, Open Mike Eagle is not just an everyman rapper but the superhero Iron Hood, armed with…
Brian Josephs / September 20, 2017

Review: Foo Fighters Continue to Preach the Gospel of Modern Rock on Concrete and Gold

They may have taken their name from an old term for UFOs, but the Foo Fighters have always been a down-to-earth bunch. It isn’t so…
Zoe Camp / September 19, 2017

Review: Lee Ranaldo’s Electric Trim Is Strange, Sprawling, and Occasionally Compelling

"Circular (Right as Rain)," the first single from Lee Ranaldo’s new album Electric Trim, was the platonic ideal of a solo song from a…
Andy Cush / September 15, 2017

Review: Hüsker Dü – Candy Apple Grey

This review of  Candy Apple Grey originally appeared in the July 1986 issue of Spin. We are republishing it now in the light of drummer, songwriter, and vocalist…
Lenny Kaye / September 14, 2017

Review: Deerhoof’s Mountain Moves Is a Charming But Uneven Protest Album

"Deerhoof’s protest record" is an intriguing concept on paper. Over nearly two decades, the Bay Area quartet has proven itself as a singularly able…
Andy Cush / September 11, 2017

Review: Zola Jesus Flirts With Death on the Haunting, Hopeful Okovi

Zola Jesus, the musical moniker of Nika Roza Danilova, once had huge mainstream aspirations for her accessibly gothic art. Her hope for a big hit…
Maria Sherman / September 8, 2017

Review: The National Are a Revitalized Band on the Bleak and Ambitious Sleep Well Beast

The National, traditionally, have been at their best when they sound like they’re either playing on a mountaintop or blearily muddling through a song in…
Winston Cook-Wilson / September 8, 2017

Review: Alvvays Follow Their Winsome Indie Pop Blueprint on Antisocialites

Alvvays almost seemed too good to be true. The band’s origins on the islands of far eastern Canada were so innocent, their location…
Anna Gaca / September 7, 2017

Review: Neil Young’s Lost Album Hitchhiker Offers a Grand Unifying Theory of His Greatest Decade

On August 11, 1976, Neil Young sat down in a Malibu studio with an acoustic guitar, a batch of new songs, and enough weed, cocaine,…
Andy Cush / September 7, 2017

Review: LCD Soundsystem’s Dark American Dream Is an Ideal Comeback Album

You were there, even if you weren’t. When LCD Soundsystem called it quits in 2011 with a pair of sold-out Madison Square Garden concerts, it…
Jeremy Gordon / September 1, 2017

Review: Fifth Harmony’s First Album Without Camila Cabello Feels Like a Placeholder

Just after filming 2016’s New Year’s Eve special, Fifth Harmony announced Camila Cabello had left the group, under acrimonious but predictable circumstances: Cabello…
Katherine St. Asaph / August 31, 2017

Review: The War on Drugs Prove They Should Be the World’s Biggest Band on the Expansive A Deeper Understanding

"They should be gigantic," major label kingmaker Jimmy Iovine once famously said about The War on Drugs, a band that is actually a single 38-year-old…
Jordan Sargent / August 28, 2017

Review: Brand New Bid Us Farewell on the Great Science Fiction

The writing on the t-shirts was real: Brand New, one of the most transcendent rock bands of the new millennium are, for all intents and…
Zoe Camp / August 25, 2017

Review: Queens of the Stone Age’s Weighty Villains Is About Josh Homme, Not Mark Ronson

There’s a good chance the average pop radio listener couldn’t spot Mark Ronson in Coachella’s VIP section and an even better chance they think "Uptown…
Ian Cohen / August 25, 2017

Review: Grizzly Bear Sort Out Their Old Lives on the Slinky, Satisfying Painted Ruins

Can you feel it coming? Quickening on the horizon, a rustle of Uggs and shutter shades, skinny jeans and chunky highlights; a murmur of Friendster…
Brian Howe / August 18, 2017
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