Happy Hollow is far too grouchy to be taken seriously.
Post-War is a lush blend of humming synths, organs, gentle strings, and deceptively simple acoustic strumming.
Thunder Down Under, a live recording for Australian radio, is an explosive self-eulogy.
Like all Mountain Goats albums, of course, there are some gems.
To the Races more often evokes Iron & Wine than Springsteen, but the end result is still quite lovely.
The film is a very sharp critique of a self-congratulating subculture that celebrated inarticulateness and clad itself in swastikas.
Rude Boy belongs in every Clash aficionado’s collection.
Whiskey on a Sunday is an energetic, irresistible ride every bit as endearing as one of the band’s greatest songs.
For the Best of Us is just a footnote to the X legacy.
Golden Smog distances itself from its alt-country roots on Another Fine Day.
The Return of Dr. Octagon seems like false advertising.
One small step for the band’s back catalog, one giant leap for record collections everywhere.
While the album may not place the Handsome Family among their influences, they remain among the best of their contemporaries.
Rather Ripped continues with the mellow, poppy vibes that Sonic Youth started emphasizing on 2002’s Murray Street.
Mr. Lif’s Mo’ Mega keeps the bar set pretty high.
The Gold Record is more dependable than it is spectacular.
A failure as spectacular as Peeping Tom only drums up higher hopes for a redemptive follow-up.
Despite the roughened exterior, the songs emphasize MOB’s great secret weapon: an arsenal of irresistible pop hooks.
Depending on who you ask, the Ditty Bops are either eight or 80 years too late.
This year might just be The Year Avant Garde Broke.