SPIN Essentials
Review: Ka Is Calm Like a Bomb on ‘Honor Killed the Samurai’
Review: NAO Fumbles Toward Ecstasy on ‘For All We Know’
Review: Bat for Lashes’ Side Is Always a Bit Lonely on ‘The Bride’
Review: Blood Orange Is Fired Up and Ready to Go on ‘Freetown Sound’
Review: YG Is ‘Still Brazy’ After All These Years
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: The Hotelier’s ‘Goodness’ Is Awfully Modest About Its Greatness
Review: Chance the Rapper Turns Atheists Into Believers on ‘Coloring Book’
Review: ‘Colleen Green’ Wants to Be Your Joey Ramone on Her New EP
Review: Marissa Nadler Paints With All the Colors of the Dark on ‘Strangers’
Review: White Lung Claw Their Way to ‘Paradise’
Review: Come Test Death Grips and Get Sliced on ‘Bottomless Pit’
Review: Radiohead Gracefully Submerge Into ‘A Moon Shaped Pool’
Review: Julianna Barwick Moves Over the Face of the Waters on ‘Will’
Review: ANOHNI Condemns Drone Warfare With Her Beautiful Scream on ‘Hopelessness’
Review: Homeboy Sandman Is the Last Backpacker Standing on ‘Kindness for Weakness’
Review: Parquet Courts Drop in to See What Condition Their Condition Is in on ‘Human Performance’
Review: Frankie Cosmos Deserves to Be Your ‘Next Thing’
Review: Teen Suicide Throw the Best Pity Party on ‘It’s the Big Joyous Celebration, Let’s Stir the Honeypot’
Review: The Range Democratizes Sampling and Helps YouTubers Reach Their Full ‘Potential’
Review: Sheer Mag Use Power Chords to Dismantle the Power Structure on ‘III’
Review: The Body Speak to Our Election-Year Nihilism With ‘No One Deserves Happiness’
Review: Kendrick Lamar’s ‘untitled unmastered.’ Is a Bullet With ‘Butterfly’ Wings
Review: Oranssi Pazuzu Open a Portal to Another Black-Metal Dimension on ‘Värähtelijä’
Review: The 1975’s ‘I like it when you sleep, for you are so beautiful yet so unaware of it’ Takes Up All of Our Headline Sp
Review: Kanye West Finally Buys His Way to Heaven on ‘The Life of Pablo’
Review: Pop Is Rebuilt in SOPHIE’s Own Mysterious Image on ‘PRODUCT’
Review: Arca Explores the Sexuality of Electronic Abstractions on ‘Mutant’
Review: Oneohtrix Point Never Puts Us Through Puberty Again on ‘Garden of Delete’
Review: Grimes Preaches Wonderful and Horrifying Hyperspace Gospel on ‘Art Angels’
Review: VHÖL Rip the Flesh From Thrash’s Corpse on ‘Deeper Than Sky’
Review: Christine and the Queens Share the Crown With Everyone on Self-Tilted Debut
Review: Deerhunter Destroy the World Just to Survive It on ‘Fading Frontier’
Review: Alex G Lifts the Smokescreen on ‘Beach Music’
Review: Protomartyr See Life Through to Its Lack of Conclusion on ‘The Agent Intellect’
Review: Kelela Cuts Open Her Soul 4 Us on Lustrous ‘Hallucinogen’ EP
Review: Deafheaven Turn Black Metal All Different Colors on ‘New Bermuda’
Review: Kurt Vile Levitates on the Desert-Warmed ‘b’lieve i’m goin down…’
Review: Titus Andronicus Make the Excessive Impressive on ‘The Most Lamentable Tragedy’
Review: Tame Impala Embark on a Flawless Interstellar Journey With ‘Currents’
Review: Vince Staples’ ‘Summertime ’06’ Is No Picnic, And Gloriously So
Review: Bully Stone and Dethrone the ’90s Indie Set on ‘Feels Like’
