"Misery" isn't a total misfire, but its formulaic diva-pop effervescence does little to convince you that music's mainstream was missing Stefani.
John Doe moves away from the punk sounds of X to a solo career more geared toward bluesy roots rock.
In a sub-genre often riddled with a myriad of exploits to bring as many one hit wonders to the top of the charts as possible as pop/rock is, Adam Clark comes across as one of the few genuine articles in his lane that could readily find success in a crowded playing field.
Vulture Whale's “Can’t Help It” is exactly what you’d expect from a scuzzy stoner rock song.
FEVER HIGH is exactly what it says on the tin: they advertise breezy synthpop, and breezy synthpop is what you get.
Durand Jones and the Indications hearken back to a time when soul was recorded, performed, and (if possible) heard live.
Bruce Hornsby's new song/video draws as much from the northern folk of Bon Iver as it does from the soul of deep Appalachia.
Jain’s “Come” has already done quite well for itself, hitting #1 on the French pop charts in no small part thanks to its snappily syncopated blue-eyed-soul thump.
Merchandise's first new material since the Dum Dum Girl collaboration Red Sun, sounds like a swirling potpourri of post-punk's many different generational guises.
The sound coming out of Silent Pictures is less a formidable wall and more a shifting dune of sand, all-enveloping and immersive but also weary and accommodating.