The Rhythmic Remembrances of Fred Thomas
Fred Thomas: “Attention spans are so short now. Records need a story to stand out from the rest. There is a deep intentionality in this record for me.”
Fred Thomas: “Attention spans are so short now. Records need a story to stand out from the rest. There is a deep intentionality in this record for me.”
Office Culture’s Charlie Kaplan takes a little from garage rock and folk rock, producing his most satisfying solo release to date. It genuinely mesmerizes.
Flow Critical Lucidity may not supersede Thurston Moore’s past career peaks. However, it reveals the unbounded possibilities of transformation available to him.
Kishi Bashi’s Kantos blends philosophy, identity, and the human condition with genre-defying music and introspective lyrics.
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.
On the occasion of Office Culture’s ambitious fourth album, Winston Cook-Wilson talks about collaboration, influences, and making dumb sounds on a synthesizer.
Soccer Mommy wrestles with profound loss on her new record, which is more organic and grander than anything she has released before.
Austin’s Being Dead offer up a bizarre, disjointed realm that constantly shifts, sweeping you up and launching you into the most unexpected places.
Channeling For Against and classic Stone Roses, Healees’ Coin de l’œil fuses jangle, shoegaze, and power pop into something beyond those genres.
Indie rock icon Fred Thomas’ new LP Window in the Rhythm is a career highlight, a riveting and moving meditation on the passage of time.
Producer and multi-instrumentalist Nate Mendelsohn’s (Market) latest songwriting project Well I Asked You a Question is wobbly, unstable, and catchy as hell.