Babehoven’s Indie Folk-Pop Feels a Little Undercooked on ‘Light Moving Time’
Babehoven’s Maya Bon is a strong vocalist with a good sense of melody, and it’s the vocal melodies that keep Light Moving Time engaging.
Chris Conaton
Chris Conaton graduated with a Bachelor's Degree in Music Education from Michigan State University. After bouncing around in several different music teaching jobs as well as a stint working at Lowe's in Michigan, he moved to Houston, Texas. He now teaches elementary school music in suburban Houston. Aside from a couple of minor freelance gigs and keeping a blog specifically for writing reviews, PopMatters is his first regular writing gig.
We Are Scientists Add 1980s Synths to Their Power Pop on ‘Lobes’
We Are Scientists’ Lobes is notable for building its songs specifically around keyboard lines and exploration of 1980s-style synth tones.
Sorry’s Songwriting Tweaks Make for a Big Improvement on ‘Anywhere But Here’
Sorry’s Anywhere But Here pokes at rock and pop conventions without being a full-on piss-take on rock music. It’s more rewarding the more it’s listened to.
Old Fire Attempts to Find the Beauty in Bleakness
The music on Old Fire’s Voids is slow and unsettling, like folk music from a location devoid of hope.
Sloan’s 13th Album ‘Steady’ Is Another Strong One
Steady, the title of Sloan’s 13th album, describes their workhorse approach to music while reassuring fans that they’re still around despite hardships.
The Mars Volta’s Return Is Initially Jarring But Ultimately Rewarding
The Mars Volta becomes more rewarding with repetition. Despite the outwardly more accessible style, the group has stuffed it full of intriguing musical choices.
Boyfriend’s ‘Sugar & Spice’ Is a Bold and Varied Blend of Pop and Hip-Hop
Boyfriend’s Sugar & Spice is full of maximalist pop and hip-hop. It delights in obliterating traditional gender roles and celebrates anything-goes sexuality.
20 Years Ago OK Go Debuted With an Underappreciated Power-pop Gem
After 20 years, it’s clear that OK Go’s most complete album is their self-titled debut which combines a penchant for big hooks and a love for big guitars.
Spacemoth’s Simple Indie Synthpop Brings the Hooks
Spacemoth’s No Past No Future is a smorgasbord of synth-oriented indie-pop sounds, covering a lot of musical ground while retaining a core style.
Triathalon’s R&B-Adjacent Jams Get a Bit Samey on ‘Spin’
Adam Intrator’s breathy vocals often mesh quite well with Triathalon’s music on Spin. That uniformity in style can also make every Triathalon track sound the same.
Of Montreal’s Pandemic-fueled Freewave Lucifer Is a Challenging Listen
Of Montreal’s Freewave Lucifer was inspired by and created during COVID’s isolation. Here and there is a catchy moment, but those bits are rarely repeated.
Anteloper Explore How a Producer Can Affect Improvisation on ‘Pink Dolphins’
For those who enjoy jazz improvisation, jam-rock, or ambient electronics, Anteloper’s Pink Dolphins has a lot to like, including Jeff Parker’s production.
