Formless melodies bleed into one another, and tracks come and go without much effort or care in announcing their arrival or departure.
Asobi Seksu continues their Cranberries-flavored dream-pop voyage with their fifth album.
None of Kiss Each Other Clean’s idiosyncrasies detract from the impact of its calm beauty.
This is a work of obviously borrowed ideas from a group highly capable of succeeding with their own.
4X4=12 is the same tired genre vehicle audiences have been hearing since the mid ’90s.
The spunky Would It Kill You? is a shocking metamorphosis for California rockers Hellogoodbye.
Sidewalks lacks a considerable amount of the bite of its predecessor.
Kings of Leon has amped up the “revival” half of their revival-rock offerings for Come Around Sundown.
Stevens’s conceptual obsessions continue on this trippy, orchestrated journey that is, in two words, beautifully neurotic.
Jojo Burger Tempest is neither entirely good nor bad, but rather a schizophrenic monstrosity.
Swanlights proves that Antony Hegarty can turn his attention expertly onto what lies in ecstasy.
Like their self-titled debut, the xx’s live show is a case study in straddling a fine line.
At its crux, the album seems like a pointless, ill-timed, and ultimately disappointing exercise.
Penny Sparkle is clinical and almost always predictable, despite the exotic murmurs of lead singer Kazu Makino.
The Drums’s arsenal of three or five-chord pop songs are the sonic equivalent of cake, with reverb as the generous icing.
Surfing the Void finds Klaxons taking their genre rock shtick way too seriously.
The album is aimed at delivering an uplifting, grand bow to a somber saga.
Essentially The Rhumb Line, Part II, the album polishes and perfects rather than expands Ra Ra Riot’s dreamer sound.
!!! struggles to achieve any kind of consistency on Strange Weather, Isn’t It? other than a continuous, generic club atmosphere.
jj is much less obsessed with ambient diversions on jj n°2 than on its successor, preferring to emphasize beats over tunes.