Foxing’s New LP Is a Wild and Unpredictable Triumph
Foxing swing for the fences, and most often, it’s positively thrilling, bending a wealth of influences into something stirring and uniquely powerful.
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.
Latin alternative artist Manu Chao sings for a better future on his first album in 17 years, Viva Tu. This music is meant to be lived with.
Floating Points’ Cascade is a bassy, minimalistic swirl of house, techno, and ambiance to be enjoyed on the dancefloor or as the backdrop to solo introspection.
Detroit’s Clinic Stars draw you into their gauzy, poetic interior world and weave a cozy afghan of 1990s slowcore and dream pop on their debut LP, Only Hinting.
Nearly a decade after his debut, Jamie xx returns with a long-awaited sophomore LP that stylishly swells and retreats with danceable beats and moody romanticism.
For his new jazz album, Walter Smith III discovers new inspiration in the Houston of his childhood to create his most fully realized work yet.
Citron Citron’s Maréeternelle is accessible avant-garde pop still edging toward highbrow. It highlights the ultramodern sounds coming from Geneva’s underground.
With Up on the Hill, Otis Shanty have taken the guitar-based, dream pop template and reinvented it beautifully for a new era.
Throughout Woodland, Americana songwriters Gillian Welch and David Rawlings underscore the sinews of relationships that are stretched but never torn.