The band’s first album in a decade is more haunted than its arena-sized choruses suggest.
The U.K.’s most stylish avant-pop renegades continue doing for indie what Tarantino does for cinema.
George Michael’s solo debut was one of the last pop blockbusters of the 1980s.
On The Party Ain’t Over, Jack White turns his authenticity fetish on Wanda Jackson.
Another week, another shrill country duo making a horrible first impression.
Lee should be aiming for more than just “pleasant” by this point in his career.
Is dance music really all about the vocalist?
Tristen’s Charlatans at the Garden Gate flies in the face of convention.
The Dirtbombs is a garage band with one foot outside the garage.
The choice of violent imagery belies the apparent sweetness of the group’s nine members and the single’s simply massive hooks.
Spiritual Mental Physical is stocked with a lot of stale and unfinished product.
Murphy talks about what it’s like to work with PJ, turning the camera on his homeland, and his love of David Lynch.
With just two albums, Swedish pop group Little Dragon has twined strands of dance-pop and R&B into an imaginative brand of electronic music.
None of Kiss Each Other Clean’s idiosyncrasies detract from the impact of its calm beauty.
Content is a relatively strong product from a group clearly devoted to making music on their own terms.
The irony of Delicate Steve’s name becomes apparent just a few bars into the band’s debut.
McMorrow’s smart approach to his craft and his exquisite voice counterbalance what Early in the Morning lacks in originality and refinement.
White Wilderness is the first of Vanderslice’s albums to sound like its production, rather than its songs, is the driving force.
The album plays like a copy of a copy.
There Are Rules aims for an aggressive aesthetic, but it ends up as mostly empty bluster as the Get Up Kids tries to put their pieces back together.
Arcade Dynamics may be the best teaser for Panda Bear’s upcoming Tomboy yet.