Being Dead Embrace the Absurd in Garage Rock
Austin’s Being Dead offer up a bizarre, disjointed realm that constantly shifts, sweeping you up and launching you into the most unexpected places.
Austin’s Being Dead offer up a bizarre, disjointed realm that constantly shifts, sweeping you up and launching you into the most unexpected places.
Producer and multi-instrumentalist Nate Mendelsohn’s (Market) latest songwriting project Well I Asked You a Question is wobbly, unstable, and catchy as hell.
Kit Sebastian’s New Internationale is a robust pop masterpiece, a boldly artful work that is refined but not restrained, tasteful but never bland.
Citron Citron’s Maréeternelle is accessible avant-garde pop still edging toward highbrow. It highlights the ultramodern sounds coming from Geneva’s underground.
Norway’s Susanna aims to distill the world and bring it down to a set of uncomfortable truths on this album. Love will tear us apart again and again.
Life is hard, and the world is a dangerous place. The The’s Matt Johnson has never shied away from these realities. He’s as pithy and perceptive as ever.
It’s raucous, it’s queer, and it’s uncompromising. Blood’s Tim O’Brien is sticking to his guns. “I won’t change the [band] name for the sake of search engines.”
Blood’s LP builds and occasionally explodes, providing catharsis in sounds more than shouted lyrics. It sounds more like a balm than ripping off a Band-Aid.
Only God Was Above Us demonstrates that melodic, clean guitars are welcome but optional and that Vampire Weekend have plenty of other tricks up their sleeves.
Maggie Rogers’ latest album, Don’t Forget Me, is a soft and breezy return to the musician we met on her debut studio effort Heard It in a Past Life.
Polish duo Coals always looks for something new in music, and Sanatorium is no different. But in the lyrics and emotions, it’s a return to the past.
Julia Holter drips her semi-conscious thoughts on the musical canvas to access her artistic sensibility, but she seems a bit unsure of the process.