Ryan Gabos first cut his teeth as a music critic in 2011 with 402 Productions, for which he soon rose to the position of Editor through 2013. Since then, he has written for Good, Bad, Ugly Music Reviews, Next2Shine, and GrooveVolt. He also stays musically active, fronting the band Sotto Voce and representing one half of the punk group Hot to Trot.
Revisiting Sleepyhead’s tenure on Homestead Records is as much of a trip down memory lane as it is an acid test for just how widely the gumption was spread to the more unknown sects of alternative circles at the time.
Featuring an array of guest musicians and a wide berth of ideas and styles, MoM’s latest plays out like a series of bite-sized In the Fishtank performances, each touting its own brand of curiosity.
GBV’s 25th album ensures that the frequency of their output isn’t due to phoning it in but rather the miracle of dedication.
The complicated time signatures and Matt Flegel’s snarl are still intact on the band’s third LP, yet the lack of a centerpiece may leave fans unsated.
This debut of a supergroup featuring members of Fugazi gets too caught up in the jamming aspect of band practice.
Now Only is a more focused and musically satisfying second chapter in the ongoing chronicle of Geneviève’s postmortem.
It’s 2018 and there’s a riot going on. As much as they opined, “This is it for all we know,” on last record Fade, it’s still too early to punch in their cards.
NYC indie rock veterans Sleepyhead debut a new single from the past, combining blistering drums with pleasantly fuzzed out guitars… and a slide whistle!
All at Once builds on the pop flirtations of their previous record while matching the length and bevy of ideas found on Ugly, marrying the two in a mettlesome, swaggering although humbled ultra-album.
On their third album in four years, Ought continue to be one of the most inventive bands of late, operating on the sheer ingenuity of its proprietors.
What a Time to Be Alive is a far more apt address than the one Donald Trump issued in January; it’s a State of the Union of the people, by the people, for the people.
Anna Burch’s solo debut proves that if you plug in a guitar and apply a noticeable amount of reverb somewhere within the process of recording, indie pop can indeed be quickly reduced to something anyone can do.
Jad Fair remains an overflowing fountain of wide-eyed, childlike poetry and his bandmates all craft the dependable art rock stylings that have become associated with the name over the years. “One word for it: Wow.”
Our aggressively dystopian present has collided with Tune-Yards, temporarily sapping them of their comedy. However, wit stays safely intact on their latest, and they’ve traded in their jesting aptitude for a beefed up dance engine, destined to get every last woke one of us on the floor.
Chad VanGaalen chats about his new record, balancing the roles of father and bandleader, future artistic aspirations, and why one should never Tarboz themselves.
The Wichita Flag earns much more than it sets out to achieve, and across its felicitous 15-minute runtime, Les Easterby crafts a clever riposte in the face of blindly homogenized moralism.
The first of Wichita wunderkind Les Easterby’s Black Friday EPs stems from his longstanding World Palestine outfit. It features his wonderfully typical subtle poetry and guitar-centric, asymmetrically divine compositions.
For Dwyer and company’s 20th release (and Castle Face’s 100th title overall), they’ve changed the instrumental environs and even tweaked the project name to better resemble their humble beginnings.
Stephen Wilkinson’s latest outing as Bibio is over an hour’s worth of ambient music that is sometimes somber, other times uplifting, and always sans-vocals.
Needle Paw fulfills any Hiatus Kaiyote fan’s dream of hearing an MTV Unplugged set from the foursome’s mastermind, accompanied by an autobiographical music diary.
The tortured self-searching gloom Deradoorian applies to this collection of meditative pieces prove too unsettling to be filed under “easy listening.”
The Detroit post-punk quartet’s latest LP is largely indistinguishable from its predecessors for the best reasons.
The Clientele’s first record in seven years proves that they are still inarguably capable of elegance, but occasionally lapse into obscurity, or even worse, a retreading of old ground, playing into a law of diminishing returns.
Save for a few moments of mastery, Electric Trim is a frustratingly uneven LP from modern guitar curator Lee Ranaldo.
If you’re willing – in a profoundly strange but fun way, Mountain Moves is the kind of album America needs now to begin the healing process, if that’s at all feasible.
With his sixth solo outing, VanGaalen mines his haunting production values to yield the same goofy brand of surreal yarns we know him for.
Alvvays have raised the stakes, brushing up on the handbook of pop and making the competent, forward-thinking, deceptively saccharine album they’ve been studying for.
Following several LP and song names that could double as entries in the Dungeons & Dragons Monster Manual, they now fittingly bring us Orc.
Painted Ruins is such a reversal of Shields’ instant accessibility that although genius, its palette may appear alienating to some. To quote the lyrics of member Daniel Rossen, “It’s chaos but it works.”
Just short of 11 years have passed since the last proper full-length from Keigo Oyamada’s Cornelius outfit, and after such a long gap, it’s difficult to determine whether or not his latest effort invokes more than it originates.
Melvins’ first ever double LP combines an eerie film score with a record of their traditional song-based (and naturally heavy) standard fare.
Chaz Bear’s acuity for pop showmanship hasn’t ditched out on this record, but along with the themes, the compositions sound vastly darker and more contemplative than ever before.
Tim Kinsella talks about his writing process, the decisions that go into the latest iteration of Joan of Arc’s touring setlists, and how being in a band after 20 years is becoming increasingly more manageable.
Like staring at the clock and waiting for your ninth period class to come to an end, Jason Loewenstein’s latest effort is a tight, fast assortment of controlled chaos that rings that bell to set you loose.
Ti Amo is the aural equivalent of a by all means successful – and at times particularly elating – booze cruise.
Coffman’s debut strips itself of any self-pity, granting universal empathy and a countering effect to the notion that it’s a breakup album and nothing more.
Now fourteen albums deep, Andrew Rieger, Laura Carter, and company are still endlessly dedicated to crafting power pop via fuzzy, chugging powerhouse or wistful, shimmering acoustic number.
Girlpool may have enlarged their sound, but they still possess a nakedness to their performance that is unmistakably their own. If anything, expanding to a full band has strengthened their identity.
Displaying a clamor of ideas and a cavalier misdirect of convention, Lindsay’s first album in 13 years sees his avant garde leanings at their most pronounced yet in his Brazilian influenced work.
Combining forces with The Mattson 2 has granted Bundick with his most accomplished product to date, and although Bundick prefers to explore new territory rather than retread old digs, we may hope that should he choose to break tradition someday off in the future, he sees fit to return to this psychedelic powerhouse.
Nana Grizol return with their first album in seven years without skipping a beat, continuing to craft intimate anthems for those who prefer their romanticism served with a side of reasoning.
Jay Som, the project of Oakland musician Melina Duterte, channels her bedroom-produced lovelorn ballads into its first proper LP, proving that headspace and recording space share no correlation.
Whether on the move or sedentary, listening to the intensely atmospheric Illinois River Valley Blues will awaken your inner roughneck traveler/wanderer.
In Sprout’s conquest to bridge a semblance of meaning between our youth and its relation to maturity, he may have hit the mark with his greatest accuracy yet.
Joan of Arc have just turned in what is easily their most “challenging” album since “In Rape Terror and Fantasy Sex We Trust”, but the new direction in sound only serves to entice.