Noise rock, mathcore veterans Daughters make a fantastic return to the extreme, experimental scene with the highly potent and verging on sadistic You Won't Get What You Want.
On their seventh LP Certainty Waves, the Dodos continue to make hyperkinetic indie folk. They have made a record of blistering folk-pop poetry that stands shoulder-to-shoulder with Visiter.
Jenn Champion's Single Rider is a strong, fascinating album that's exceedingly well written. No matter what instruments are being used, Champion puts the song first.
Essayist Brian Phillips is no staunch empiricist, nor does he want to shatter delusions or expose machinations. In Impossible Owls, he is content to remain in a wide-eyed and owl-ier place.
Dead Sara has followed up their first two albums with 2018's Temporary Things Taking Up Space, a six-song EP that stands as one of the year's best releases in rock.
The fourth in a series of David Bowie boxed sets, Loving the Alien (1983-1988) covers a period in the late artist's career than many hardcore fans would prefer to forget. Time for a reassessment.
Mirah has often embraced a DIY ethos that suggested experimentation and working with found materials. On Understanding, she goes much further out into the sonic stratosphere.
Dave Longstreth returns with the poppiest album yet from his project Dirty Projectors. Lamp Lit Prose offers big hooks as well as plenty of nervy rhythms and typical sonic left turns, resulting in a soundscape that's both exhilarating and exhausting.
Macy Gray is sprightly, wistful and even rapturous, but depending on the song and the sentiments, she can turn her charm into a weapon, cut like a knife and even twist it with glee.
