Melvins’ ‘Tarantula Heart’ Marks Their Strange Trip
Melvins are masters of their craft, still able to make songs that stand with their finest work precisely because they’re never trying to recapture that past.
Melvins are masters of their craft, still able to make songs that stand with their finest work precisely because they’re never trying to recapture that past.
Singer-songwriter Dawn Landes performs classic folk songs of struggle. Women’s rights are the unalienable ones we all share. Anything else is inherently wrong.
The latest release from Michael Cormier-O’Leary’s instrumental collective, Hour, is a deliberately paced work that’s peaceful and oddly disarming.
Cloud Nothings have delivered record after record of catchy, energetic songs without getting stale or repetitive. Final Summer continues that streak.
Canadian noise punks go widescreen on their latest to thrilling effect. METZ embrace melody but still bring the noise Up on Gravity Hill.
Polish duo Coals always looks for something new in music, and Sanatorium is no different. But in the lyrics and emotions, it’s a return to the past.
Avalanche Kaito’s Talitakum is one of the most intriguing albums this year so far. It’s a work of futurist folk-rock and a mixed-media sculpture.
Experimentalist Erika Angell has a deep track record of producing intriguing music, but here, under her own name, it feels like she’s created her masterwork.
Aaron Lee Tasjan often goes for a laugh with broad puns and subtle references to pop culture. Yes, he is funny, but he is also serious, seriously funny.
On Jlin’s Akoma, composers long recognized for their innovations, such as Philip Glass, the Kronos Quartet, and Björk, are pulled into her orbit.
The Church’s “companion piece” to The Hypnogogue is just as good. It didn’t take long for the veteran Aussie psych-rockers to break in their new lineup.
Celebrated saxophonist Josh Johnson infuses his music with various styles on this surprisingly accessible new LP of processed, ambient jazz.