
The Black Crowes Deliver a Ton of Swagger
The Black Crowes have leaned into the familiar: hard, bluesy rock with just enough acoustic accoutrements to pacify the fans they found touring 25 years ago.
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The Black Crowes have leaned into the familiar: hard, bluesy rock with just enough acoustic accoutrements to pacify the fans they found touring 25 years ago.

On their newest LP, the German electronic stalwarts Modeselektor look back on their discography with a spirit of innovation rather than retrospection.

The narration in Murder Bimbo is whip-smart, clever, and satirical, but the novel’s unusual structure confuses.

Lucid Express might be restless and eager to defy pigeonholing and complacency. That’s good, but in the process, they’ve made an album that often feels overstuffed.

Karim Aïnouz’s films portray characters in states of displacement. In Motel Destino, that displacement becomes spatially literal.

Morrissey’s Make-Up Is a Lie is a love letter to Paris: schmaltzy, befuddling, arresting, but, most of all, HIM.

Everybody ought to dive into the wild, eclectic, joyful zydeco of Clifton Chenier. Even the accordion averse might decide they love it.

The Lowest Pair’s new record is steady and confident. It sounds like both a journey and its end point, and in finding peace within turbulent seas.

Brian Eno and Bette A. are on the same aesthetic page with Slow Stories, wherein the two form a kind of high-concept ASMR experience.

The Messthetics and James Brandon Lewis make fearless and non-smooth fusion with the clarity and dynamism of “post-hardcore” that wasn’t around in the 1970s.

Glorious gloom permeates the musical catalogue of Swedish singer-songwriter Fågelle, and her album Bränn min jord overflows with it.

Connor Armbruster is not only a brilliant musician but a refreshingly restless one Half My House is a unique and tuneful spin on traditional Irish music