Why? Rediscover Their Earlier Form on ‘Aokohio’
Why? return from a hiatus with the new visual album, Aokohio, which recalls Yoni Wolf's earlier works.
Why? return from a hiatus with the new visual album, Aokohio, which recalls Yoni Wolf's earlier works.
Alex Cameron's third album, Miami Memory, is still some kind of monster, but it has drawn in its teeth and is laughing with the family.
Lloyd Cole goes electropop on his latest album Guesswork, and it offers a new palette of sounds that deepen the impact of his wordy ramblings.
Scholar Qiana Whitted's EC Comics: Race, Shock & Social Protest explores a different path in EC Comic's history: their work with social justice stories and the resulting censorship in 1950s America.
Warren Defever was crafting drones is his home in his pre-teens. This first of three His Name Is Alive archival releases compiles those recordings.
How Much Longer Must I Wait?: Singles and Rarities 1965-1972 is exactly as its titles claims, and its quality makes it even harder to understand how such a powerful talent like Lee Moses could have slipped from sight undetected.
Waveshaper Media's Electronic Voyages: Early Moog Recordings 1964-1969 is designed to highlight the exploration and playfulness of the early Moog practitioners.
The dive bars of Nashville inspire indie rocker Alex Lahey on her sophomore record, The Best of Luck Club.
Chris Cohen's self-titled third solo album is as unassuming as it gets, yet it is unequivocally quality work by an extraordinarily skilled artist. Plus there are sax solos.
Strand of Oaks' new album Eraserland is going directly for the stomach. It's about career worries. It's about aging. Basically, it's about all the insecurities.
Kevin Elkin Henthorn of Cape Francis is the indie rock everyman, and he made a record with Deep Water that many will feel in their bones.
Helium, Homeshake's fourth album is a further exploration of Peter Sagar's inner musings, and it may be his most honest record, as it sounds lonelier and smaller than any Homeshake LP to date.