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.
American High still sound like a band just beginning, which makes this such an exciting and enthusiastic debut.
Late in the Night is a wonderfully fresh concept, if only a slight addition to the artist’s larger body of work.
Overall, Cooper’s goal is an energetic one, with the ultimate aim of getting the public to “start engaging with the problems around them in an attempt to make a positive change.”
One should hesitate in calling Theotokos a concept record, but drug addiction and how it effects both the user and those around them is a theme that repeats on many of the songs.
Arrival doesn’t show a tremendous amount of growth in Space Motel since their last full-length, but it does show them just as strong with no sign of slowing down.
Frame of Mind has a wonderfully charming home grown sound that perfectly suits Sam Levin’s quietly confident style, and should easily turn out to be surprise indie sleeper hit.
Although there exists definable cornerstones, the band thrives more in that vague no man’s land, that abstract Venn diagram where goth, cabaret, vaudeville, and the circus all intersect.
Flach’s Empty Mansions, is a concept album about division and confusion in the modern era, and is the culmination of a long series of attempts and experiments by Flach.
Breakthrough is an album easy to enjoy and hum along to what’s on the surface, but dig a little deeper and you’ll find a work rich in complex emotional content.
The Long Dark Road may have too much shoegaze in it to satisfy traditional metal fans, but has enough merit to attract newcomers as well as those searching for something a little weightier than normal.
In many regards, California Torpedo sounds like a debut album. It’s the work of a band that is still searching for its footing, but it’s also a work of unquestionable merit when the pieces fall perfectly into place.
Their third and most recent album, Famous Monsters essentially follows the pattern of the previous two, but it finds a band at their peak, and if not, at least very close to it.
Listen to any song from White Oak & Kerosene, and you can immediately sense the dirt caked on Allen’s hands, and the cheap, hard-earned whiskey on his breath.