Album of the Week
Review: Myrkur Foregrounds the Grace in Black Metal on the Live ‘Mausoleum’
Review: Katie Dey’s ‘Flood Network’ Is Rife With 404 Errors and Heartbreak
Review: Field Mouse Roar (Quietly) From Philadelphia on ‘Episodic’
Review: Descendents Embrace Oldage on ‘Hypercaffium Spazzinate’
Review: Elysia Crampton and Friends Throw Trap and New Age Into a Blender on ‘Demon City’
Review: The Paranoid Style Make the Trump-Era Send-Up of the Year on ‘Rolling Disclosure’
Review: We Really Love the Julie Ruin’s ‘Hit Reset’ (But They’d Rather Not Know)
Review: Blood Orange Is Fired Up and Ready to Go on ‘Freetown Sound’
Review: G.L.O.S.S.’ ‘Trans Day of Revenge’ Is a Dish Best Served Fast
Review: Mitski Really Gives Emo Something to Write Home About on ‘Puberty 2’
Review: Brandy Clark Saved the Hits for Herself This Time on ‘Big Day in a Small Town’
Review: William Tyler’s Instrumental Folk Is History on ‘Modern Country’
Review: PUP Proclaim ‘The Dream Is Over’ But Proudly Welcome the Nightmare
Review: Marissa Nadler Paints With All the Colors of the Dark on ‘Strangers’
Review: Jessy Lanza Does Retro-Futurism Proud on ‘Oh No’
Review: Homeboy Sandman Is the Last Backpacker Standing on ‘Kindness for Weakness’
Review: Konono Nº1 and Batida Redefine Trance on ‘Konono Nº1 Meets Batida’
Review: Andy Stott Is Wanted Both Dead and Alive on ‘Too Many Voices’
Review: No More Wires Ever for the Coathangers on ‘Nosebleed Weekend’
Review: Tenement’s ‘Bruised Music, Vol. 2’ Is Meat-and-Potatoes Rock Minus the Potatoes
Review: Kaitlyn Aurelia Smith’s Ambient Majesty Melts the Ice for Once on ‘Ears’
Review: Open Mike Eagle and Paul White Get Up Close and Well, You Know, on ‘Hella Personal Film Festival’
Review: Underworld Don’t Need Your Nostalgia on ‘Barbara Barbara, we face a shining future’
Review: Into It. Over It. See Your ‘Standards’ and Raise Them
Review: Wussy’s Ragged Ohio Racket Hits Biblical Proportions on ‘Forever Sounds’
Review: Lucy Dacus’ ‘No Burden’ Is a Survival Guide to Bending and Breaking
Review: Matmos Spin Us Right Round, Baby on ‘Ultimate Care II’
Review: Pinegrove Redefine the Power of Being Uncool on ‘Cardinal’
Review: Eric Prydz Gives Progressive House the ‘Opus’ It Never Knew It Needed
Review: Kevin Gates Needs No Assists to Fuse His Yin and Yang on ‘Islah’
Review: Roly Porter Savors, Then Smashes the Silence on ‘Third Law’
Review: Brothers Osborne Take Country to the ‘Pawn Shop,’ Leave With Something New
Review: Baroness Rebound From Tragedy With a ‘Purple’ Haze
Review: Lizzo Is Primed for WRRRLD Domination on ‘Big GRRRL Small World’
Review: Erykah Badu Continues R&B’s Longtime Game of Telephone on ‘But You Caint Use My Phone’
Review: Pop Is Rebuilt in SOPHIE’s Own Mysterious Image on ‘PRODUCT’
Review: Sadie Switchblade Is Rock’s Most Beautiful Loser on Dyke Drama’s ‘Tender Resignation’ EP
Review: DJ Paypal Makes Footwork Funny on ‘Sold Out’
Review: Floating Points’ Symphony Reaches the Sublime on the Ethereal ‘Elaenia’
Review: Beach Slang Put Out an APB for the ‘People Who Feel Like Us’
Review: Seinabo Sey Makes Empathy Thrilling on ‘Pretend’
Review: Majical Cloudz Are Here for You on ‘Are You Alone?’
Review: Kelela Cuts Open Her Soul 4 Us on Lustrous ‘Hallucinogen’ EP
