Reviews - Page 2

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

Aphex Twin’s Surprisingly Ambitious Collapse EP Proves He’s as Restless As Ever

For a musician who is rightfully pegged as an innovator, Aphex Twin has cultivated a fairly consistent signature sound. Melodies shine with the whimsy and…
Andy Cush / September 18, 2018

Eminem Is Still Wasting His Talent on Thin-Skinned Antagonism

As a white guy in hip-hop--a once-marginalized demographic that is now bordering on omnipresent--Eminem has always been focused on earning respect from his peers and…
Jesse Fairfax / September 6, 2018

Review: Dev Hynes’ Aesthetic Is Fully Realized on Blood Orange’s Brilliant Negro Swan

Playing sad is easy. Sadness in music can often be as much of an aesthetic choice as the display of some sort of real vulnerability.
Israel Daramola / August 29, 2018

Mitski’s Gleaming Be the Cowboy Is as Complicated as Longing Itself

Like most things mythic and unknowable, cowboys are a perennial fascination of singer-songwriters. In the ‘90s, Paula Cole ironically lamented the absence of the gallant…
Katherine St. Asaph / August 28, 2018

Nicki Minaj’s Queen Doesn’t Transcend the Controversy

Part of the experiment in considering Queen, Nicki Minaj's latest album and the follow-up to 2014's The Pinkprint, is ignoring the five-month promotional cycle that preceded it. In…
Israel Daramola / August 16, 2018
Page 2 of 425