With Another Life-Affirming Jolt, Guerilla Toss Remind Us That We’re All ‘Famously Alive’
Quirky art-rock outfit Guerilla Toss sacrifice little of their magnificent strangeness by leaning mainstream on their Sub Pop debut, Famously Alive.
Quirky art-rock outfit Guerilla Toss sacrifice little of their magnificent strangeness by leaning mainstream on their Sub Pop debut, Famously Alive.
On LABYRINTHITIS, indie rock’s Destroyer address North American anxiousness while successfully tackling styles hitherto untouched by the project.
Former Talk Talk member Mark Hollis was ruthlessly honest in his pursuit of a musical vision. This biography attests to the gifts and costs of his artistic pursuit.
Franz Ferdinand’s potential is repeatedly hinted at rather than fully realized on Hits to the Head. But it’s better to show potential than to have none at all.
U2’s classic album The Joshua Tree offers insights into the power of art to challenge the stories we tell ourselves 35 years after its initial release.
Today, 20 years later, the legacy of Trail of Dead’s Source Tags & Codes has developed as one that’s intertwined with Internet-based music journalism itself.
Alt-J may have tempered their eccentricities on The Dream but there’s still plenty of death and genre-bending to satisfy veteran votaries.
With Spiritual Machines 2, Our Lady Peace drew back all the curtains. And they did it while dancing squarely into the future as it’s a successful evolution.
Elbow’s Flying Dream 1 trusts its listeners, asking us to hold a quiet space for the music and let it reveal itself over time.
Kate Bush’s 50 Words For Snow is a jazzy wonderland of mystical creatures and fleeting romance with nuanced themes of impermanence and ephemeral love.
Genesis compilation The Last Domino? The Hits reminds us of a time when rock music, be it progressive, popular, both, or neither, was afraid to stay stagnant.
Japan’s Tin Drum serves as a lasting document of a band ahead of their time and one that rises far above the pretensions of their contemporaries.