New Album Takes the Lemon Twigs Into Pop’s Golden Years
The Lemon Twigs’ A Dream Is All We Know displays scholarly mastery of the complex techniques their forbears invented. The sheer musicality is prodigious.
The Lemon Twigs’ A Dream Is All We Know displays scholarly mastery of the complex techniques their forbears invented. The sheer musicality is prodigious.
Molly Burch’s Daydreamer succeeds because of its multilevel approach. She has an enchanting voice that can be touching and stoic simultaneously.
On Everything Harmony the Lemon Twigs echo and even improve on their 1970s influences with such skill and spirit that they demand we take them seriously.
Thus Love began as a fuzzy, overly goth-influenced band, but they have since polished their messy sound to a confident post-punk sheen on Memorial.
Barcelona's MOURN release their latest punk rock earworm, "This Feel Is Disgusting", which explores existential anxiety through joyful rocking out.
Embracing their grungier influences, Deceiver marks a significant departure from DIIV’s previously established brand of shoegaze.
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.
PopMatters speaks with Wild Nothing's Jack Tatum about moving home to Virginia, musical transitions, and how to build on the best influences from the past.
Indigo signals a throwback to Wild Nothing's previous LP Gemini while also traversing the sonic territory of '80s new wave.
Sorpresa Familia doesn't merely mark the catharsis of breaking free from an oppressive label; it proves that Mourn needed to loosen the shackles to make the most fully-formed record of their career.
As Chastity, Ontario's Brandon Williams offers a bracing, brutal assessment of teenage life in his hometown on new album, Death Lust.