The Leeds junglist tells a story in the wrong order, in the right way.
Planet Anthem cuts out the extraneous glut that has always dominated the Disco Biscuit’s catalogue to deliver a more concise, accessible package.
The album marks the most consistent set of songs Allan has yet recorded.
The question that hangs over the project is whether or not it works on a level other than that of a clinical academic remove.
Even taking into account the disappointing final act, Sisterworld adds up to a thrilling listen.
While immensely entertaining, this is hard to consider very original or groundbreaking.
Head First is a brief trip, but it’s saturated with enough hi-NRG motifs and sounds for countless sweaty workouts at Jack LaLanne.
The album may be bookended by its two best tracks, but the material in between is not exactly less consistent.
The album displays an inventive, freewheeling approach to pop songcraft.
In the Dark has gigantic aspirations.
This is an album where the mind-boggling and the mind-blowing are wall to wall.
The album strains to make the trio sound like countless other acts currently mining a retro-minded aesthetic for instant indie cred.
The most surprising—and rewarding—development on The Monitor is sonic, not thematic.
As with most of those serial dramas, Black Swan adheres to a predictable formula and familiar emotional terrain.
You know you’re in trouble when your marketing strategy is the most interesting thing about your new album.
The album asserts itself as a refreshingly pointed piece of chamber pop.
The album is Xiu Xiu’s most vibrant experiment since Fabulous Muscles.
Beat the Devil’s Tattoo isn’t some heady exercise in rock transcendence or romanticism.
The Winter of Mixed Drinks is, in a lot of ways, Frightened Rabbit’s weightiest record yet.
Like jj n°2 before it, n°3 strikes a balance between the blasé and the magical, matching facetious.
Broken Bells boasts some truly marvelous songs, but these peaks are sandwiched between tracks that struggle to exceed colorless tedium.