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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.
Tangerine’s new EP suggests a brighter aptitude for instrumentation and arrangement than their synth pop predecessors.
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.
Denver-based alt-folk/Americana duo Alright Alright release a heartfelt and engaging debut album via Hooves and Sugar Record Co.
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.
The Ar-Kaics gritty, gnarly, but secretly glamorous 60s punk
LA-based post-rock/orchestral/folk experimentalist Chris Karman unveils a distinctive, reflective, and hybrid album.
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.
Warm Drag is the authenticity yielded by a natural continuation of Paul Quattrone and Vashti Windish’s collaborative DJ sets, and the theme of this night is acid western.
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.
“The venerable Dunedin quintet is back after three years with a delectable but moody new release.”
Comprised of some of New York’s best session musicians and dedicated to his manager and girlfriend Anya Phillips (who passed away from cancer in 1981), this differs from his previous work, but not enough that fans who are unfamiliar with it shouldn’t hear it.
Jones’s latest full-length indebts itself to his bygone friend and mentor John Fahey in a personalized sonic essay on his early teachings.
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.
On their twenty-first record, Oh Sees remain confounding in their pace and dependability.
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.
Aside from one breezy single, this perfunctory debut is about as catch-all as a ClipArt search result for ‘indie band.’
Joy resembles not the electric freak jam of its former, adopting instead a case of perpetual nervousness and a short fuse. Segall and Presley have bottled the essence of Dr. Jekyll transforming into Mr. Hyde.
“Neil Sturgeon and his band of Infomaniacs have created a delightful new release, full of well-constructed hooks and excellent lyrics.”
Pram’s first release in a decade is often the score to the rumpus of ghosts in the attic after their being unleashed from a dusty music box ballerina’s stimulus.
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.
The Switch does away with the sterility of Body/Head’s debut and seeks to better represent the group’s live sound.
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.
The Sun, The Stars, The Moon, and Me is a dynamic collection with the occasionally brilliant moment, and one is left with a desire for the band to continue to create music in the future under a more unified vision.
Fans of Kicklighter will be anxiously waiting to see what Young will do with an orchestra, but Paper Planes is a bittersweet finale from an artist who clearly still has so much to give to the world of pop.
“Meadowsweet is a mind-bending and cosmic head trip, immediately dousing your synapses with its dreamy hooks.”
Self-described psychedelic stoner-punks, ASG return (finally!) with Survive Sunrise. It continues the North Carolina band’s trajectory of excellent, never-boring, energetic music. My only complaint about this band is why do we have to wait five or six years between offerings?
Ultimately, Romantic Stories is richer and far more fulfilling than a mere travelogue.
Aside from his familiar trill, the hushed, homespun folk Helsinki’s pleasantly-voiced Palonen fashions on TP is far removed from his previous outfit Kuparilinna’s punchier, ‘60s-inspired indie pop, surf, and psych-rock.
At the end of World War II, the victors, i.e. the USA and USSR, split the territories they’d defeated along ideological lines.
The album’s first great stretch of songs starts with the 3rd track, the lilting ballad “Halls of Sarah,” ending with a vocal hook utilizing Case’s astonishing voice that is destined to get stuck in your head for days afterwards.
As the EP is a little ephemeral, it could use some beefing up, but it remains a touching tribute to a cause which deserves far more attention.
“This music is unsettling, sparse, elegant, and always engages the listener. Yet, it is never easy listening by any stretch.”
The Official may have been a long time coming, but Halfwait have handsomely rewarded their fans for the wait with an album that encapsulates their entire growth as a band up until this point.