‘1967’ and Robyn Hitchcock’s Quest to Stay High for Eternity
Robyn Hitchcock’s memoir 1967 taps into the music high that untethered the restraints of boarding school and shaped his life and music for eternity.
Robyn Hitchcock’s memoir 1967 taps into the music high that untethered the restraints of boarding school and shaped his life and music for eternity.
Mount Kimbie stir their influences into The Sunset Violent so well that it’s distinctly a record of theirs and an enjoyable one at that.
Antwerp Belgium’s Disorientations completely revamp their “Chameleons/Echo and the Bunnymen” post-punk sound on this impressive sophomore effort.
Les Savy Fav’s OUI, LSF is an energetic blast of post-punk that makes many of the newer bands in that scene sound pale in comparison.
Cyril Cyril’s Le Futur Ça Marche Pas is for agitators, a genre-be-damned assemblage of poetry and vivid effects in the form of well-produced electronic rock.
Forty-five years after Elvis Costello’s Armed Forces first arrived in record stores, its commentary on fascism is extremely relevant to today’s politics.
This gargantuan post-punk collection has legends like Joy Division and the Cure, but it’s the lesser-knowns who provide the many unexpected thrills.
Yard Act’s Where’s My Utopia? is a mother lode of cool sounds, critiques of late capitalism, meditation on fame’s futility, and a forecast of apocalyptic change.
Rock guitar virtuoso Mary Timony’s Untame the Tiger is a clear–eyed, unsentimental, top-shelf record that emerged during hard times.
Deerhunter’s Weird Era Cont., the companion to Microcastle, lives in its shadow and yet eclipses it with a bizarre brilliance all its own.
Sprints’ lyrics are sharp and direct and their musicianship provides tension and release across all 11 songs, which have a hooky rawness that is addictive.
IDLES are an easy band to like. They present a vision for hard rock and punk rock that’s inclusive, empathic, and open-hearted on their latest LP, TANGK.