Last Tycoon gives room for Morén to explore ideas outside the sound of his principal group.
Give credit to Tapes ‘n Tapes for braving the backlash with not a small amount of swagger and even a few doses of anger.
The band lands somewhere between the Scottish banjo-twee of Boy Least Likely To and the bland folk rock of the Bodeans.
For a side project nearly an hour in length, Consolers of the Lonely is quite an accomplishment.
Compared with his more famous peers, AZ is a model of consistency.
Morrison channels the familiar, angry-old-man musings on art and public life that have driven his 21st-century output.
It’s a certain failure to do little beyond noodle energetically and evoke the work of others that dooms Parc Avenue to mediocrity.
On Mail on Sunday, Flo Rida joylessly repeats all the tired tropes of Southern party rap.
Once again, Rick Ross has made it easy for us to imagine what a rap album by Suge Knight would sound like.
Alopecia builds upon the promise of 2005’s Elephant Eyelash and a pair of earlier EPs.
If the tunes ever catch up with the beats, Cassettes Won’t Listen will be something worth listening to.
The album includes all of the ingredients as its predecessor, but a ratcheting-up of intensity makes this album shine brighter.
The album is very much on intimate terms with folk music without being of it.
Vagabonds provides more of Gary Louris’s fiddling with tried-and-true rock methods.
The album presents a washed-out monologue of childhood romance and tragedy.
This is not your run-of-the-mill “roots of rap” or “best breakbeats” compilation.
Though more adventurous than 2005’s The Best Little Secrets Are Kept, the band’s sophomore LP still rings soulless at its core.
Up-and-coming district dive the Rock n’ Roll Hotel hosted the show, surely the biggest of the venue’s 18-month existence.
Raydoncong was hardly as boiled-down as Mahjongg’s disappointing new album, Kontpab.
Vampire Weekend is little more than a repackaging of the group’s fame-making demo.