
Syd dePalma Leads Us to an Uncanny ‘Paris’
Syd dePalma’s Paris is dreamlike. Echoes abound, sculpting recognizable rock, folk, and pop stylings into imaginative new shapes.

Syd dePalma’s Paris is dreamlike. Echoes abound, sculpting recognizable rock, folk, and pop stylings into imaginative new shapes.

Slow Crush’s Thirst has scattered interesting musical moments, but much of it is buried under constant guitar noise and not enough melody.

Flint, Michigan band Greet Death’s latest album is a triumph of accepting endings and appreciating life’s pleasures in their time.

Singer Ellie Rowsell shines as a genuine rock god goddess as Wolf Alice rock a dazzling array of sonic flavors. It’s been a sensational night in Oakland.

As with shoegaze’s crescendoing textures, there’s a sheer force of sensory feeling in Virginia Woolf’s verisimilitude.

Greet Death’s Die in Love is destined to be a go-to for when the pain of life needs balance with some hope, and that is a year-round need.

Hotline TNT achieve a brighter sound on Raspberry Moon, as Will Anderson celebrates his new love and welcomes songwriting contributions from his band.

Blonde Redhead prove they’ve got just as much style as substance on their new record. They follow their instincts and make remarkably well-crafted music.

Indianapolis indie poppers Wishy are building on the success of their debut with an EP and more new songs on the way. They chat with PopMatters about it.

The Pains of Being Pure at Heart are back together again, and two of the indie rock-pop band’s founding members discuss their past, present, and future.

Most significantly, the Raveonettes’ Pe’ahi II provides an absolutely essential cathartic sensory overload in their inimitable way.

Roomer’s Leaving It All to Chance is too nuanced to be consigned to the straitjacket of shoegaze with its sultry melodies, neo-folk stylings, and earworm hooks.