Christian Lee Hutson Navigates Nostalgia and New Beginnings
Christian Lee Hutson’s Paradise Pop. 10 is one of those subtle and more nuanced albums, likely causing it to slip under the radar, but Hutson has arrived.
Christian Lee Hutson’s Paradise Pop. 10 is one of those subtle and more nuanced albums, likely causing it to slip under the radar, but Hutson has arrived.
Flow Critical Lucidity may not supersede Thurston Moore’s past career peaks. However, it reveals the unbounded possibilities of transformation available to him.
Laura Marling’s eighth record, Patterns in Repeat, is a full bingo card of simplicity and sophistication—a win-win for her, listeners, and critics all around.
On Harlequin, a companion album to The Joker: Folie a Deux, Lady Gaga uses “vintage pop” to strengthen the mythology around her persona.
The Cure’s Songs of a Lost World is a cohesive collection that skews dark, cinematic, meditative exploration of loss in all its forms.
Kishi Bashi’s Kantos blends philosophy, identity, and the human condition with genre-defying music and introspective lyrics.
Blues artist Kenny Wayne Shepherd’s Dirt on My Diamonds -Vol. 2 is a tribute to rock music, an epistle from a proud disciple to his beatified masters.
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.
Soccer Mommy wrestles with profound loss on her new record, which is more organic and grander than anything she has released before.
On her 17th studio album, Kylie Minogue once again proves that few of her peers or followers understand the art of light dance-pop as well as she does.
Austin’s Being Dead offer up a bizarre, disjointed realm that constantly shifts, sweeping you up and launching you into the most unexpected places.