Psychedelic rockers Teeth of the Sea lead a fantastic show in support of their latest full-length, Wraith. Alongside them Slow Knife and Trianglecuts fill out the bill in wonderful fashion.
On tour in support of On the Line, Jenny Lewis fills her personal songs with grief, heartache and sadness while searching for ways to see the light.
With their second album, DAD IS BAD, the experimental electronic duo Budokan Boys continue to build a soundtrack for a broken world.
Bruce Springsteen and Neil Young collaborator, Nils Lofgren's Blue With Lou is a career high that frequently recalls his early work with Grin, while rising to new, majestic heights.
As Koaosaeme, Ryu Yoshizawa releases his second album of baffling, futuristic sound design that's bold, intense, and unpredictable.
Jazz pianist Denny Zeitlin tackles the Miles Davis songbook across four decades, using a wide swath of styles, all inventive, in concert on Remembering Miles.
Yannick Haenel's Hold Fast Your Crown is shocking, frustrating, elating, and among the best books published in France for decades.
Terry Eagleton's Humor wisely makes no argument beyond a survey of all the ways one can debunk some portion of all preceding theories of humor.
With the release of their second record, folk duo Ordinary Elephant have become a full-time entity, and this exceptional release promises a long career worth following ahead.
If you didn't know our current era was rife with referential genre stylings used in pursuit of a genre-less pop sensibility, listen to Faye Webster's Atlanta Millionaires Club.
Veteran electronic artist Stubbleman uses piano, bass, and synths to document America on Mountains and Plains. It's an exceptionally well-realized album.
The new album from the L.A.-based psych-rock trio Dommengang is a pummeling – yet smartly executed – riff-fest.
In her history of women in punk music, Revenge of the She-Punks, Vivien Goldman hefts the scene's virtues and the vices into one heap and concludes that some of it was necessary, some of it was fun, and some of it was evil.
In her recent performance at the Southbank Centre, Barb Jungr shared perfect material for her own genre-defying artistry in the works of Bob Dylan and Jacques Brel.
Mavis Staples has witnessed the great transformations that have been made in terms of race relations in American life. But she is not satisfied on We Get By.
Producer Marc Urselli's quartet takes its time to explore the shadows on their self-titled debut.
Whether it be the glassy synths or the gently finger-picked guitar notes that skim across the surface, Drinker build songs from shimmering, almost mirror-like parts. That results in a wonderfully accomplished and understated album.
Masters of drone Earth return with their more minimal record to date, Full of Hell continue their rampage through power electronics and No Negative carry on bouncing around garage, punk and post-punk. Newer acts Vale, Suspiral, Onkos, and Verwoed take the next step and sound like veterans of the scene.
Jérôme Tubiana and Alexandre France have created a powerful work in Guantánamo Kid that brings attention to the humanity of people who are accused as terrorists.
Carly Rae Jepsen's Dedicated lives in the explosive lift-offs and devastating crash-and-burns of coupling, those meaty emotionally hefty peaks of relationships that form the inverted bell-curve of the heart.
Listening to Howe Gelb's Gathered is like being at a dinner party with Gelb at the head of the table, telling stories, offering his sagacity, and taking the listener on clever lexical excursions.
The Universe Also Collapses is another singular victory for psychedelic rock masters Gong, chiefly due to its adventurous scope and cohesive ambition.
Editors return to original recordings with Blanck Mass for 2018's Violence and release a special set that improves and expands on the "original version" with more depth, darkness, and exploration.
Ramy's representation of the Muslim-American experience, the first-generation immigrant experience, and the bilingual experience, is a necessary and welcome addition to the millennial dramedy genre.
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