Working with an outside producer for the first time in years, the band nudges their sound in new directions.
The band’s 11th album doesn’t break the mold, though its sound is a bit more pared down.
The film celebrates the thingness of things, as well as the assuring clarity and lucidity that can arise from devotion to knowledge.
The album comes close, in both timbre and tone, to reflecting the unvarnished Tweedy that shows up at his solo shows.
At its best, Together at Last almost makes one wish for a redo of previous albums.
Jeff Tweedy’s songwriting has achieved previously unheard dimensions of clarity and emotionality.
Star Wars is by far the noisiest and most adventurous Wilco album in over a decade.
Alpha Mike Foxtrot presents a comprehensive survey of Wilco’s long, strange evolution.
Sukierae ruminates heavily on growing up, marriage, fatherhood, and the alternately blissful and uneasy life of the Tweedy family.
Grizzly Bear, Wilco, Of Monsters and Men, ZZ Top, & the Fouls.
On The Whole Love, Wilco isn’t dealing in portions or halves.
Ghosts in the machine, indeed.
Mellow’s name was a lie: Perfect Colors, their second (and seemingly final) album proper, is breathlessly sarcastic.
The lack of stretching is deliberate.
With this album, Wilco amps up the studio sheen and a weird sense of friendly humor.
Top 10 lists are an exercise in futility, scenester-ism and dick-measuring.
Even at their most retro, Wilco is among contemporary pop music’s most vital acts.
A Ghost Is Born, like R.E.M.’s Automatic for the People, is a refreshingly instrumental work.