MJ Lenderman Finds the ‘Fireworks’ in Everyday Life
MJ Lenderman creates sounds that somehow cut into his listeners’ heads and hearts, even when the songs’ sonics resemble that of the garage band next door.
MJ Lenderman creates sounds that somehow cut into his listeners’ heads and hearts, even when the songs’ sonics resemble that of the garage band next door.
This bio about Moby Grape’s Skip Spence dissects and casts a glowing light on his work as a composer of some of the most influential music of San Francisco’s psychedelic scene.
The Dare’s What’s Wrong With New York? is euphoric, massive, funny, blissfully unironic, and finally real male pop. I wouldn’t overthink it.
Rack is another thrilling chapter from the Jesus Lizard, one of the most significant noise bands ever and whom many groups claim as a heavy influence.
British ambient composer Jon Hopkins creates dark, intimate landscapes of analogue and electronic sound on his new “ceremonial” album RITUAL.
From the first notes of her sophomore album La Mer, it’s clear that singer-songwriter Claude Fontaine is a chanteuse, and it’s not a role she takes lightly.
In August’s best metal, Mamaleek defy categorization, Teeth evolve their dissonant death metal, and Vomitrot bounce between death/doom and black metal.
Nick Cave and the Bad Seeds’ Wild God teems with creative ambitions and sacred content. An ode to the surprise of joy, it is an audacious, reaching record.
Sabrina Carpenter’s Short n’ Sweet displays her ability to imbue pristine pop production with personal flair, sparking a long overdue breakout.
Belaya Polosa is full of Molchat Doma’s most complex and overtly human music, organically integrated into their melancholy post-punk atmosphere.
The different lyrical, musical, and emotional avenues indie folk’s Sima Cunningham travels throughout High Roller shows an artist overflowing with ideas.
A prolific conductor and a sophisticated synthesizer make for an under-appreciated but vastly important album in Frank Zappa’s prodigious catalog.