
Does Stephen Emmer Share George Harrison’s DNA?
Bristling with ideas and formations, Stephen Emmer’s latest work is so malleable to interpret precisely because the tones and timbre are so universal.

Bristling with ideas and formations, Stephen Emmer’s latest work is so malleable to interpret precisely because the tones and timbre are so universal.

Marc Valentine creates an ebullient and concise album. The buzzsaw hooks hit their intended goals; the vocal leaps are concrete and aspirational.

Morgan Evans’ Steel Town is a summery project meant to be played on long evenings and warm days. It takes a humble stance on introspection.

Courtney Barnett is here to rock. No frills, no fuss; just rock. It’s the perfect throwback to grunge and indie, earmarking a no-nonsense, heartfelt barrel of songs.

Squeeze were always ambitious, although never at the expense of fun. Trixies is imaginative, impressive, and most importantly, fun.

Potential comes in many forms, and for congratulations, it stems from the musicianship: high and mighty, stealth and singular.

Rock guitars form the central DNA of KEELEY’s new record, Girl on the Edge of the World, for all the glory it can muster.

Kate Bush and Charli XCX, in their own ways, challenge the vernacular of contemporary songcraft, a commitment that paid off for both women.

Annie Hogan’s exploration of artistic expression shows world-building, all sorts of paintings, mental photographs, and invisible portraits carry great weight.

British psychedelic rockers Kula Shaker discuss their lengthy career and a stunning new album that reminds us of rock music’s power.

Judging by Yeah Yeah Yeah, it seems Cast’s vinyl collection consists solely of Rubber Soul, Abbey Road, and The White Album.

Rebellion, the fuel that raises any artist from amateur to professional, is on full display for all the world to witness on Thomas Raggi’s new album.