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.
The album will be a treat for fans of the California country-tinged folk of acts like Jackson Browne and The Byrds, and Gibbons’ soulful, earthy vocals lend an authenticity to songs coated in a thick layer of dusty Americana.
Whatever is an album that is rough around the edges, but perhaps that’s the point and it’s all the better for it.
Wolf In The Fold, in fantastic, explosive pulsations, hearkens back to the rawer, unbridled history of the Wild West—a history which is in many ways fabricated, and in doing so the band’s music adds to this mythologizing.
si,irene is really fantastic at blending both arty angularity and indie pop melodicism, and this commitment to confronting preconceived musical ideas is at the forefront of their existence as a group.
for(e)go is an important first introduction from a musician with an original and compellingly fresh perspective.
In reality, If You’re So Smart is actually much closer to art pop disguised with distortion than anything else, ultimately creating an experience that only reveals and intensifies with closer listening.
True Dimension is a must-listen for anyone who loves Yankee Hotel Foxtrot, but most importantly it only heightens the anticipation for the inevitability of a full-length from Seneko.
Solipsis is one of Negativehate’s greatest releases yet, and represents a coalescence of everything they have stood for over their long existence.
Oculus is at once disturbing, unsettling, and the tension at times is unbearable; but it is most importantly a work of art that will stay with the listener long after it is over.
Resist is a bold and brave conception that is expertly executed, and it will undoubtedly stand as one of the modern era’s first major political artistic works.
Distant Echoes & Close Encounters will undoubtedly be remembered as a great leap forward for Aurganic, a band unafraid to step outside of their own comfort zone.
It’s highly probably Universe in Bloom will win over a lot of new fans for The Great Escape, because the band’s spirit and this album’s charm is ultimately irresistible.
Regardless of whether it will prove to be a transitory record or the end of one individual chapter in the band’s history, Relevant Noise will stand as the testament of Night Herons truly coming into their own.
A Sequence of Waves is no doubt a challenging listen that one can’t simply put on in the background, but it is a work of art that rewards the open-minded listener with close, repeated examinations.
The Empire of Deception builds significantly on Westward’s debut album, and sets them up to be the latest torchbearers of the power trio tradition.
Live at Lazybones captures something revelatory about Cullen, and it’s that as good as his studio albums may be, it’s very likely the best way to experience his music is live on stage.
It’s undeniable that Songs on Fire is more or less the artist’s debut album, and at times this naivety bleeds through, but it also remains a remarkably well-constructed product that is as catchy as it is dramatically produced.
Not About Nightingales has captured American folk music in a way that countless other musicians have failed to do, and with any luck, many of these songs will become standards in their own right.
If Wizard rock, and the proliferation of Harry Potter bands in recent years is anything to go by, one can only hope the successive Shrek-themed musical acts are at least as half as talented as Shrek is Love.
Only time will tell whether The Stangs are a band born in the wrong time or if they’ll lead the charg of a new revivalist movement, but American Sessions will nevertheless stand on its own merits.
Their second and latest album, Waltz to the World, is a strangely jazzy affair that combines various elements of both prog and left-of-center pop in a catchy yet artistic way slightly similar in vein to XTC.
To anyone, it is immediately clear that Weezer is a large influence on Lochness Monster, but the band’s slightly more progressive and serious than the pseudo-heavy metal pop punk lyricism of Rivers Cuomo.
Tonight We’re Alive isn’t music one can analyze endlessly, which is exactly why this record sits firmly in the long tradition of corporeal rock and roll.
The record occasionally slips into territory that hints at a purely cursory glance at 1984, but Power remains a fascinating first glimpse at a trilogy that can only be fully appreciated at its eventual close.
Veseria is entirely comfortable combining elements of punk, rock, and folk, and they have never sounded more confident and relaxed in the studio, while showing an attention for detail that, thankfully, doesn’t entirely erase the band’s scrappier edges.
Perhaps, it’s an album that would work best without the somewhat confusing concept, but the songs are strong enough to nevertheless stand up on their own.
Winn isn’t afraid to dig deep on tracks like “Better Friend,” and consequently, he comes out with something truly inspired and pure.
With any luck, Dirt Church will put Groupoem back on the map and introduce them to an even larger fan base than ever before.
Sonically speaking, the band effortlessly combines the folkier elements of The Grateful Dead with the power pop of groups like Tom Petty & the Heartbreakers and a harder blues rock edge à la The Rolling Stones.