Cloud Nothings’ ‘The Shadow I Remember’ caps a remarkably prolific 12 months for leader Dylan Baldi with a reminder about the possibilities for community that music can provide.
Palm Ghosts’ “The Dead Inside” draws from three decades of influence with flecks of soul and post-punk for good measure.
The distinct identity of Arab Strap, as an instrumental and lyrical unit, is matched by the visual aspect. The band’s artwork walks a sure-footed tightrope of casual appearance to deliberate effect.
Dublin's the Murder Capital and Detroit's Protomartyr both delve into murky existential lyrical terrain as riotous riffs reverberate and drums pound militantly, infusing the atmosphere with ominous sonic shadows.
Like the title implies, it's hard to see the Hold Steady's latest album as something more than just another shrewd career move.
"There Be Monsters" from Portland's Far Lands is understated but impactful and a testament to the group's attention to richly detailed songwriting.
Helsinki's Crimson Peak drape their indie pop-rock in rootsy and folky tones on their latest single, "Lies".
Slint are sounding even better as the long years go on and on. It's a testament to the source material that we're still revisiting, remixing, and re-releasing all these decades later.
What we have on Goat Girl's On All Fours are some hazy but deeply unsettling observations, carried along effortlessly on a bed of delirious voices, sailing over music quieter, slicker, and tighter than that on their debut.
As an innovative musician who grew up in Nashville before making a name for herself in Atlanta, K Michelle DuBois changes with the times while exploring other unconventional ways to write and record The Fever Returns.
