Coldplay’s ninth studio album Music of the Spheres desperately wants to inspire its listeners, but the songwriting and sound fall flat.
When you open Pepe Deluxé’s Phantom Cabinet, you have to jump in with both feet. Even setting wacky instrument antics aside, it’s a musical baptism worth total immersion.
Backed by an eclectic group of musicians, the latest work from violist/composer Jessica Pavone is centered on intuition and instinct.
As an Explosions in the Sky album, the lack of indulgent edge is one of the few things you can say about Big Bend (An Original Soundtrack for Public Television.
Plucking chords with steel-tipped determination, Buffalo Nichols brandishes his songs with the worn sentimentality that has had many scarred souls in lonely bars crying into their beers.
Pulp’s We Love Life exists in the shadow of Different Class and This Is Hardcore, with no iconic singles. Yet it’s the Sheffield band’s most cohesive and heartfelt work, which has the distinction of being, well, a sort of folk album.
Concertgoers are eagerly flocking to venues like Denver’s Ogden Theatre to see and hear what Japanese Breakfast’s Michelle Zauner has to offer during her Jubilee celebration.
Guided by Voices deliver a stunning, large-hearted collection of power-pop and off-the-wall oddities laced with beautiful strings and horns throughout.
Trace Mountains’ latest LP is a reconsideration of Americana. Dave Benton is uncertain, defeated, earnest, ironic, heartbroken, and inspiring all at once.