Pale Waves Put Forth Another Solid Effort on ‘Smitten’
Pale Waves ride nostalgia like they were old enough to have lived it. Whether their mimicry is incidental or purposeful, Smitten is another enjoyable record.
Pale Waves ride nostalgia like they were old enough to have lived it. Whether their mimicry is incidental or purposeful, Smitten is another enjoyable record.
On Dulling the Horns, Wild Pink deliver reverberating guitars and new instruments that complement their thought-provoking sentiments and introspection.
Culled mostly from previously-released material, this triple-vinyl set catches Fleetwood Mac in the midst of their world-beating commercial phase.
In a world full of shredders, Bo Ramsey reveals the splendor of simplicity in his blues-laden Sidetrack EP. He lets this guitar do most of the talking.
Drug Church’s PRUDE takes its place alongside Gouge Away’s Deep Sage as a highlight of the year in hardcore that could reach outside the flock.
An emotional and intellectual curiosity pulses through the glitches, polyrhythms, and floating synths of Photay’s Windswept, which feels distinctly personal.
Xiu Xiu are uncompromising and have an equal appreciation for the beauty in life and all of its dark corners. Here, they mix jarring atonality and eerie calm.
Adeline Hotel’s ever-prolific Dan Knishkowy turns inward on his new album, Whodunnit, divorced but devoid of bitterness or blame.
Foxing swing for the fences, and most often, it’s positively thrilling, bending a wealth of influences into something stirring and uniquely powerful.
Nite Owls is JD McPherson’s most fully realized front-to-back example of his talent yet, and it points the way to an even more exciting follow-up.
Kit Sebastian’s New Internationale is a robust pop masterpiece, a boldly artful work that is refined but not restrained, tasteful but never bland.
Even if Jane’s Addiction can’t reconcile their relationship, they owe it to themselves to finish what they started and see their new album to term.