Dublin's the Murder Capital and Detroit's Protomartyr both delve into murky existential lyrical terrain as riotous riffs reverberate and drums pound militantly, infusing the atmosphere with ominous sonic shadows.
The Future Bites objectively deserves applause for perpetuating Steven Wilson's integrity and creativity, even if it's a markedly—and perhaps intentionally—divisive collection, too.
Rather than succumb to the difficulties of our era, many progressive creators doubled down on their artistry to produce some of their best work and tighten their relationships with their admirers.
Rock goddess Cathy Richardson speaks out about honoring the legacy of Paul Kantner, songwriting with Grace Slick for the Jefferson Starship's new album, and rocking the vote to dump Trump.
The Reign of Kindo's Joseph Secchiaroli delves deep into their latest single and future plans, as well as how COVID-19 has affected not only the band but America as a whole.
The conceptual focus of Versions of the Truth and the tight interplay between the musicians mark a new creative high for the Pineapple Thief, easily their best since Magnolia.
Hawkwind's 1970 debut opened the door to rock's collective sonic possibilities, something that connected them tenuously to punk, dance, metal, and noise.
The Academy of Sun's The Quiet Earth is an interesting mish-mash of styles. Singer-songwriter-pianist-bandleader Nick Hudson prefers to use "Gothic dystopian post-punk" to describe the band.