
Baths’ New Record Is Filled with Beauty and Menace
Baths’ Gut is a potent record, all the better for the tension it leaves unresolved. Musically, these are some of Will Wiesenfeld’s warmest, most inviting songs.
Baths’ Gut is a potent record, all the better for the tension it leaves unresolved. Musically, these are some of Will Wiesenfeld’s warmest, most inviting songs.
Texas country artist Pug Johnson mixes the styles of the Gulf Coast region (Tex-Mex, Cajun, swamp rock) with a surreal sensibility and a dash of pathos.
On For Melancholy Brunettes (& sad women), Japanese Breakfast quiet the fanfare but deliver enough quality to stay relevant.
David Ramirez has left us with his own not-so-gentle reminders that he explores restlessly, always finding new means of expression without sacrificing quality.
With Sol, Raúl Monsalve y Los Forajidos add their soulful illumination to a world in which there are always bright and beautiful moments and music like this.
Blood on the Silver Screen sounds like a sonic masterpiece for modern times, with SASAMI’s ability to dazzle in varying formats while singing her heart out.
Despite a title nearly as long as the record itself, Courting’s ambitious attempts to stretch beyond basic guitar rock pay off richly on their third album.
Annie & the Caldwells’ Can’t Lose My (Soul) blends gospel fervor and deep grooves into a triumphant, soul-stirring album that reaches for transcendence.
While Joy Burklund’s Songbouquet sounds inspired by many of the classic pop and rock records that preceded it, it also affirms the power of community.
Heartworms’ Glutton For Punishment is a highly intelligent, essentially perfect album. At 37 minutes long, it’s a precision-cut diamond.
The Lathums have fulfilled the promise of “Crying Out” with a series of singles and two hit albums. Now, they have released a hard-hitting third album.
Yes’ Close to the Edge remains a progressive rock landmark, but Rhino’s new Super Deluxe Edition does little to further that legacy.