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.
_Words For Yesterday_is both thematically more mature and ultimately more profound than its predecessor, and it comes out April 12th.
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.
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.