As one would expect, Liar for a Muse is quieter than the work with DeLaurentis’s band, but it’s also much more refined and mature as if the artist has a newfound sense of direction.
We Are The Lights That Will Not Go Out is nothing groundbreaking, but it’s the perfect album when you’re in need of an injection positivity.
Overall, it’s the artist’s personality—a confident expression of both good humor and serious artistic intent—which makes Avenue B such an enjoyable, wild ride that never stops to rest for long.
Of All These Things is a work in which the love and care of the musicians’ craft is evident everywhere, and fortunately the pair is already hard at work on a follow up.
With Isolated Thunderstorms a listener should come for Weiss’s own takes on his New York musical idols, but stay for his sensitive and introspective lyricism.
Dear Absentee Creator shows a lot of growth since Astral Cloud Ashes’ first record, and it suggest a consistent progression of devoted artistry.
Tall Pines & Tangled Vines has an undeniable charm and chemistry which is impossible to fabricate.
Alive isn’t experimental in a nature in which one could categorize it as belonging to the avant garde; instead, it’s experimental on a personal level as she continues to search deeper within herself for emotionally honest material.
Yet Here We Are inevitably carries some of the tell-tale traces of youth, and there’s nothing necessarily wrong with that, but it is undoubted that the band will continue to make great leaps forward as they mature.
Waks’ commitment to treating her subjects with authenticity gives the entirety of Tales from a Room a legitimacy rare among debuts.
It’s only been two years since the debut album of NYC’s Jane in Space was released, but thankfully they haven’t waited too long for a follow up EP.
Maxwell James manage to pack a wide array of human emotion into a very short release, making it a compelling listen from the beginning.
The Sun, The Stars, The Moon, and Me is a dynamic collection with the occasionally brilliant moment, and one is left with a desire for the band to continue to create music in the future under a more unified vision.
Fans of Kicklighter will be anxiously waiting to see what Young will do with an orchestra, but Paper Planes is a bittersweet finale from an artist who clearly still has so much to give to the world of pop.
Ultimately, Romantic Stories is richer and far more fulfilling than a mere travelogue.
As the EP is a little ephemeral, it could use some beefing up, but it remains a touching tribute to a cause which deserves far more attention.
The Official may have been a long time coming, but Halfwait have handsomely rewarded their fans for the wait with an album that encapsulates their entire growth as a band up until this point.
In Your Room is commendable for the risks taken, but hopefully it will be lauded more for the quality of Sebastian O’s songwriting.
Many asked what kind of music would come out of the Trump era, and without a doubt Anatomy is an injection of compassion which we so desperately need.
You’d be hard pressed to find many horn sections today finer than the one in Disaster Relief, and this album comes just in time to remedy this summer’s heat wave.
In just four songs, Cordova makes a bold statement at a blisteringly fast pace with Runaway Summer, and sets a precedent for their next full-length album, whatever that may be.
The covers obviously can’t compare to the originals, but In the Light of Led Zeppelin does a more than commendable job of proving the elasticity of a well-written song and that recording another artist’s work doesn’t have to mean a faithful reproduction.
For an album recorded at a practice space, there is an accomplished aspect to Basement Recordings regardless of its very unpolished state.
By looking back through the history of world and pop music, James Labrosse ends up creating something with Orange Night that is both fresh and exciting.
Ultimately, And the Stars Above is music which one can easily put on in the background while carrying on with one’s day, but it also invites close listening and individual interpretation.
Dork Matter isn’t a great leap forward for The Thirds, but it makes the case once again that they are very capable of writing subtly mature pop with a brand of confessional lyricism rare in their scene.
Strange Culprits captures a band still finding their footing, but there’s plenty of glimpses of a strong, captivating identity to warrant numerous listens.
Brokedown Free Man Blues is ultimately far more accurate of a self-portrait than anything the artist may have planned.
Undoubtedly, The Sandcastle King is starved for warmth, but it remains an absolutely fantastic mood piece which is perfect listening for anyone searching for something similar to the way they themselves feel.
The Smartest Person in the Room is an album that should be paid attention to closely, for it’s full of jokes, wisdom, and surprising moments of heart which can fly by unnoticed.
Ultimately, the true identity behind the beard doesn’t really matter, because Inward speaks for itself as a shining, highly original example of the limitless possibilities of pop music.
It’ll be interesting to see what the extra songs add to Golden Age, but the EP in its present form is a ready-made, tightly coherent package of unadulterated, artful pop.
Stylistically both folksy and jazzy, while Peters’ lyrics are honest and stripped of unnecessary adornments, Spirits is an EP which will attract a wide array of listeners.
It’ll be interesting to see if he will continue this trajectory with an entirely political EP to finish off the trilogy, but the project has already resulted in some of the most potent music in Maged’s career.
The Last Ten Years is caught somewhere in between a statement of transition and a declaration of maturity, and is arguably Hutchens finest creation yet.
What remains is a voice identifiable to her alone in both tone and subject manner, and From the Womb crosses the finish line as a remarkably self-assured minor masterstroke.
Abacaus ends up spreading itself thin ever so slightly, but it nevertheless has many fantastic moments which suggest an even brighter future.
I Am ends up as the perfect title for what is essentially a quietly confident manifesto on a deeply personal level.
Mirror Of Creation III is out May 25th on Baze Records, and it proves the band still has a lot to give to the prog metal genre.
Keys of Mine is the sound of an artist reveling again in being surrounded by the creative atmosphere of like-minded musicians.
It’s impossible to not feel like the EP is just starting to warm up by the time it’s over. It could have benefited by, perhaps, one more track, but what is here shows a tremendous amount of artistic growth and maturity.
An entirely self-made product, the album has a raw, homegrown quality which is superbly produced, and is likely one of his best thematically as it deals with Mathur’s own personal issues from a number of angles, both cathartic and humorous.
If All The World Were Right may very well be a concept album, but if it is, then it’s the most unobtrusive concept album ever made.
It’s an album that resists categorization or understanding, and it constantly morphs and evolves, often within a single song.
What’s so enthralling and relatable about Who Can You Trust is that Leigh sounds like she’s truly singing for herself and no one else, which will ultimately make the EP all the more relatable for so many people.
Had The Motor Car & The Weather Balloon been released in 1994, at the peak of the Britpop era, it’s very likely it could have been a much bigger album, but it still stands a set of superbly crafted tunes from a musician with the secrets of British pop running through his blood.
For established fans, Coven will be a welcome addition to the band’s oeuvre, but new listeners might want to start with the previous trilogy to brush up first.
Raven King is an album that is tied to experimentation, and it is this that is ultimately responsible for both its successes and its (relative) failures.