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.
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 Freewave Lucifer was inspired by and created during COVID’s isolation. Here and there is a catchy moment, but those bits are rarely repeated.
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.
TV Priest’s My Other People pushes sonic boundaries while still sounding post-punk. The breadth of styles here is impressive, as is the musicianship.
Horsegirl’s guitar tones are alternately cool and abrasive, and that sound sets the template for the band’s mixture of indie, punk, and art-rock.
Genuinely catchy moments on Eliza & the Delusionals’ Now and Then are too few and far between, which means the songs don’t have hooks to make them memorable.
The Bends hinted at Radiohead’s potential, but OK Computer allowed Radiohead the freedom to experiment and started their progression to forward-looking music.
The Hold Steady’s Craig Finn made a particular effort to keep the music low-key on A Legacy of Rentals, while his storytelling abilities continue to shine.
Somehow, Arcade Fire have created an album that’s one half an exciting return to form and the other a continuation of their worst impulses with WE.