Scars & Wounds, which is out June 8th, is a tiny but wonderful glimpse at a burgeoning new songwriter who has everything it takes to find a completely original voice of his own.
Story Of My Life is out June 15, and although short, it might just be West’s finest and most mature statement as an artist yet.
Dream Journal may not be a masterpiece, but it is the long overdue return of an artist who has the talent and vision necessary to someday soon produce one.
Nimo & The Light are clearly inspired by a disparate, wide-ranging group of influences, but it’s quite innovative how they take them all and combine them into something fresh and new.
FINAL NOTICE! isn’t revolutionary although it calls for revolution, but it’s a perfect listen for any fan of classic ’70s glam rock with a modern twist.
As the epic seven-minute closer “So Below” proves, the band is full of the desire and innovation necessary to push the boundaries of their genre.
Raising Cannibals is not unlike the work of *The Magnetic Fields*—inextricably attached to the music traditions of the past and yet could only possibly be the product of one singular artist.
For an album that has risen from the ashes, Pleasant Grove Hotel doesn’t sound like it at all and Outerfield have crafted a coherent, strong collection of songs.
F*ck You_ is both subtle and surprising in its charms, and it bears repeated listening to fully uncover the meanings behind Annamay’s evocative lyrics.
Cobalt has been an immediate success in the electronic charts in his home of Italy, and it certainly is strong enough to possibly be Seti’s breakthrough in the States and internationally.
Versal is a highly accomplished and original statement from an artist who clearly puts his entire soul and personality into his work.
Prior to recording the EP, Ames visited Buenos Aires, and the songs have a strong Latin feel but rather than an opportunistic novelty as is often the case, it’s a natural and respectful incorporation.
Legends In Their Own Minds might not be a complete reinvention of Sundogs’ influences, but they created something which could have easily existed in the stacks of vinyl somewhere alongside Led Zeppelin and Eric Clapton.
Ten Years of Solitude is a genre-bending, deeply personal one-of-a-kind statement from an artist with as much vision as individuality.
Whether Revolution is a beginning of something new, an ending of the band’s old style, or a transition between the two, it certainly remains Torres’s most finely executed statement yet, and ends with the exciting open question of what will follow.
Adams proves himself capable of numerous styles here, and Nest of Vipers just might be one of his best albums yet.
The Divorce Party is a bit of a hodge-podge of an album, but it also includes some of Bitter’s Kiss’ finest work yet.
A New Heart doesn’t quite live up to the work of Thomas’ influences, but he certainly does a fantastic job following in their footsteps, creating a thoroughly enjoyable experience.
Postplay subverts the past, invents the future, and refuses to rest in the present, thus becoming something which stands to become a minor classic in its own right.
It Will Come Out of Nowhere is the inspired rejuvenation of a band whose vision and voice will always outlast any interpersonal changes.
Subterranean Reality isn’t groundbreaking, revolutionary punk, but nevertheless it’s punk at the highest caliber and of a quality that will even rival the band’s heroes.
From The Roots To The Sky is a challenging listen to say the least, but the high level of skill from the performers and the hidden depths it conceals also make it one of the most rewarding.
Dance Into The Desert is a remarkable debut album which encloses a large amount of craft and attention to detail within a deceivingly modest pop format.
Few manage to create something that at once feels removed or distant from the composer and yet still retains a high degree of raw emotional honesty.
Made Out Of Stars occasionally feels like a collection of odds and ends but it’s impossible to complain because the quality of songwriting and execution is just so pitch perfect.
the calm | the storm is a conceptually perfect work from a band at their peak, and proves that no wait is ever too long if the results are this rewarding.
Sum Of All Parts, with its four songs, should leave fans more than satiated until Mark Peters, with or without The Dark Band, enters the studio again.
Spark is brimming with as much heart and soul as technical skill, and it must easily rank as one of 2018’s most flawless folk albums.
Elise is a very strong, confident effort from a musician who is still discovering his image, but it shows a remarkable amount of promise.
Upscale Madhouse is a big step up for the band, and it includes some of the year’s best artistic developments in the genre.
There’s nothing revolutionary about Hardcore, but there’s something obviously admirable about the band trying to change their own community for the better through the power of music.
The tour must have been an amazing experience for Braun, because Through Train Windows is one of her purest and most concise statements as an artist yet.
And We Rise_ is produced on a surprisingly grand scale for an album that was essentially recorded all at home by Graves, and it will undoubtedly serve as one of the most uniquely individual artistic statements in the genre in recent years.
It’s not the deepest of music, but there’s a real artistry to Senior’s definition of fun and you’ll be too busy dancing to think of anything else anyway.
In fact, the title of Hungover is misleading, because the EP finds Psychocide with a renewed sense of creativity.
One could argue that in future, Twisted Oak could use a little more production to prevent it from becoming too singer-songwriter-y, but it’s nevertheless a very strong start.
In a sea of self-released lo-fi albums, Colors of Noise manages to stand out from the pack with style, substance, and quality songwriting.
Nothing’s Wrong is a statement of consummate execution and even bolder vision from a true original.
_Singing You This Song” is an album this will definitely provide a sense of comfort and solace for many.
_Journey to the Centre of Yourself” manages to convincingly depict a subject which is difficult to write about without sounding trite, and it feels like the launchpad for future, even greater artistic developments.
It’s difficult to say whether or not their busy recording schedule is a help or a hindrance to their evolution as a band, but one thing is clear: Into the Light shows Crooked Flower with no sign of slowing down and without want of fun or material.
Save Me will immediately appeal to almost any fan of grunge, and many will be surprised to find there is evidently still new ground to cover in the genre.
All the Water is a fantastic work of craftsmanship, and fans finally are given a perfectly executed example of Montgomery’s unique vision.
If there’s a fault at all here, it’s that the EP feels like it should have been fleshed out to a full-length, but fans, for better or for worse, will have to settle for the satisfyingly alluring five songs the band did produce.
There’s a lot of excitement circling Keep Meaning It (clearly the band felt it too while they were making it), and with any luck this album will prove to be their breakthrough.
Cubicle Zombie is a tremendously tight, fully-formed collection of songs that prove the years of work spent finishing it were worth it, and hopefully it won’t be long before McNabb’s next collection of songs.
It isn’t exactly revolutionary in the genre, but it’s infectious in its positivity, and it’s immediately clear that the EP is the work of someone deeply in love with the process of making music.
What’s remarkable about Strange Curses is that Paragano’s vision has been delivered to her audience fully formed.
New Jersey’s Sam Fishman of the band Madison Rising is back with another imposing solo release, End of Time.