Reset in Dub marks another attempt by Panda Bear and Sonic Boom to arrive at a new alchemy between past and present musical traditions.
Bon Iver emerged from the ashes of DeYarmond Edison along with Megafaun. Epoch is an archaeological endeavor documenting the eventual success through devotion to craft.
Bonnie “Prince” Billy suggests the strangeness of life comes in how people silently consent to mainstream conformism like marriage without revision or reinvention.
Bettie Serveert’s Palomine is memorable after three decades. Flexing musically and tonally while maintaining a coherent sound, it merits a reissue.
Joni Mitchell has never needed anything more than an acoustic guitar to get her emotions, intelligence, and entire worlds across to her audience.
In this extensive interview, The Clientele’s Alasdair MacLean discusses the indie band’s new masterpiece, I Am Not There Anymore, and their lengthy career.
Man on Man excel at delivering pop hooks in various ways across rock genres, and with ten tracks at 42 minutes, there’s plenty of playful joy on Provincetown.
Wye Oak speak to PopMatters about their experiment-or-die perspective and what it means to make music at their stage of career and life more generally.
Though her fiction retains elements of future conjecture and civilizational prognosis, like punk rock itself, Izumi Suzuki is more committed to the sci-fi genre as an edgy social and emotional analysis tool.
Youth Lagoon reaches a new level of accomplishment with Heaven Is a Junkyard. The downbeat topics underscore a fallen world but also one that can be redeemed.
King Krule’s Space Heavy is a wild listening experience, more muted and introspective than past outings and seemingly reflecting our pandemic moment.