
Radiohead’s Ed O’Brien Embraces Poetry and Prog Rock
An artist’s work is their own to paint. Blue Morpho sounds like the beginning of an impressive solo journey for Radiohead’s Ed O’Brien.

An artist’s work is their own to paint. Blue Morpho sounds like the beginning of an impressive solo journey for Radiohead’s Ed O’Brien.

That Cocanha can conjure sound paintings with little more than their mouths and a minority language shows they are in complete command of their journey.

Foo Fighters’ Your Favorite Toy begs the question of why Dave Grohl opted to issue it as a band record when it could just as easily have been a solo album.

Rock needs potency to be powerful, something Sub*T contain in spades. This record needs maximum volume, as the sounds ricochet into the bones.

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.