The band’s first album in a decade is more haunted than its arena-sized choruses suggest.
With Tarot Classics, Surfer Blood returns in a format that perfectly complements their breezy garage-pop sound: the EP.
The album lives or dies by whether it holds true to its mellow, thoroughly evocative format.
The title track draws the dullness of the rest of Revelation Road into sharp relief.
At least Jonas and his team had the smarts to enlist producers who know how to construct solid pop songs.
Dixie Lullabies is a welcome reminder that Kentucky Headhunters are still one of the finest Southern-rock outfits around.
The majority of The Great Escape Artist is more likely to be uninvolving than outright bad.
Several years after leaving Sufjan Steven’s backing band, Shara Worden is making music that sounds more like his than ever.
Miss Little Havana makes an impression, even though you probably won’t want to wear it again.
“Rapprocher” adequately describes the jump in mood between Class Actress’s Journal of Ardency EP to her debut full-length.
Phantogram continues to evolve their sound, this time in a more straightforward pop direction.
Hurry Up, We’re Dreaming sounds much more like an M83 wannabe’s poor imitation than the real deal.
Ryan Adams goes full-on into sensitive troubadour mode on Ashes & Fire.
Next time out, Hawthorne may want to make use of Auto-Tune.
Bad Ingredients drags its relevant sense of political frustration and remarkable insight and empathy through the dirtiest of country and blues.
Aabenbaringen Over Aaskammen’s most vital resource is Casiokids’s boundless sense of playfulness.
The Devil’s Rain is the work of a band that aspires to give the genre little more than its answer to “The Monster Mash.”
Björk seems to have given the 10 songs that constitute Biophilia a supporting role in the New-Age-goes-New-Media Biophilia experience.
In the end, TKOL RMX 1234567 does a better job at delivering Radiohead’s snowy ennui than its forebearer.
“Not Growing Up” manages to be both friendly and explosive.
The show’s trippy backdrop projections were at turns mesmerizing and convenient.