Christian Lee Hutson Navigates Nostalgia and New Beginnings
Christian Lee Hutson’s Paradise Pop. 10 is one of those subtle and more nuanced albums, likely causing it to slip under the radar, but Hutson has arrived.
Christian Lee Hutson’s Paradise Pop. 10 is one of those subtle and more nuanced albums, likely causing it to slip under the radar, but Hutson has arrived.
Flow Critical Lucidity may not supersede Thurston Moore’s past career peaks. However, it reveals the unbounded possibilities of transformation available to him.
Laura Marling’s eighth record, Patterns in Repeat, is a full bingo card of simplicity and sophistication—a win-win for her, listeners, and critics all around.
Contemplating the future of Iron Maiden by celebrating the present and looking back at an album that was all about looking ahead. That’s a good hook.
On Harlequin, a companion album to The Joker: Folie a Deux, Lady Gaga uses “vintage pop” to strengthen the mythology around her persona.
BEAT’s tour had the potential to be a revelation, especially to the generations that were too young to catch the King Crimson foursome more than 40 years ago.
The Cure’s Songs of a Lost World is a cohesive collection that skews dark, cinematic, meditative exploration of loss in all its forms.
On Absolute Elsewhere, Blood Incantation annihilate the death metal rulebook to spread an esoteric message of cosmic proportions.
Kishi Bashi’s Kantos blends philosophy, identity, and the human condition with genre-defying music and introspective lyrics.
Blues artist Kenny Wayne Shepherd’s Dirt on My Diamonds -Vol. 2 is a tribute to rock music, an epistle from a proud disciple to his beatified masters.
JW Francis executes his ideas with precision and shows exceptional growth while maintaining a firm root in the DIY lo-fi spirit. SUNSHINE is yet another example.
On the effervescent EELS, Being Dead make good on their promise not to repeat themselves on any song and dart through styles with relative ease to produce a gem.