Please see my full review here.

Why have I not checked out this band sooner? Their debut Lp follows three 7” singles and it’s fantastic from start to finish. This is two ex-members of Mika Miko playing much more straightforward, post-punk-influenced rock and roll with massive hooks not entirely dissimilar to Best Coast or more recent Dum Dum Girls (but with nowhere near as heavy subject matter). The best song is “Dead in Your Head.”

Though ostensibly named for the great early ’80s DC hardcore bands Void and The Faith (who released a classic split Lp on Dischord back in 1982) and with black and white artwork that’s vaguely similar, this Record Store Day 7” consists of two originals that chart well-worn territory for this long-running band. When the A-side sounds like an outtake from On the Mouth and the B-side like it could’ve come off of 1994’s Foolish, though, that’s no reason to complain. I hope the new album is more in the same vein!

I’m digging this one more and more with each spin. Now that Love in Diagrams seem to be relatively inactive and Infinite Void haven’t released anything since last year, this band is filling that void of female-fronted post-punk-influenced colossus for me at the moment.

Please see my full review here.

From 1977, this is my favorite Brian Eno album. Side one has more traditional (at least by Eno standards) rock structures while side two explores his ambient side, though with pop melody and vocals. Thus, the sides are split up nicely much like Eno-collaborator David Bowie‘s albums of the same time period (particularly Low) Side two is especially great, particularly late at night, though my favorite track overall might be side one’s “Backwater.”

More of a full-band effort than last year’s American Weekend, but just as achingly personal and emotional, this record (especially with the attention it’s received from Pitchfork and other places) will no doubt widen Waxahatchee’s audience considerably.

I think AJ Morocco sums up the charms of this album quite well in this review.

This is a classic, but I’m listing this for no other reason other than that I found a nice picture sleeve version of this single at a sidewalk sale recently. Its B-side is a mix of “Snowball” that I don’t think I’d ever heard before.

Though their great first three albums often get more attention, their major label debut from 1997 is just as captivating and downright stunning, especially on the last track “Swing It Low” (originally recorded by the late Mark Sandman on an obscure 7” single under the name Like Swimming).