Pulp Are at Their Mythopoetic Best on ‘More’
Far more than the themes of aging, sex, and loss, Pulp’s More straight-facedly spreads the word of love and it is the start of something new—a rebirth.
Far more than the themes of aging, sex, and loss, Pulp’s More straight-facedly spreads the word of love and it is the start of something new—a rebirth.
What Pulp haven’t lost is their innate Englishness: ballads recall grocery shops, summer festivals, and farmers’ markets, but the results are disappointing.
From massive hits to experimental pop compositions, Brian Wilson’s music is always thoughtful, idiosyncratic, and as thrilling today as it was in the 1960s.
Irresistible hooks and cunning arrangements abound on Peaceful Faces’ new record led by singer-songwriter Tree Palmedo.
While their penultimate studio album never garnered significant acclaim, Roxy Music’s Flesh + Blood is a moody, influential gem and vastly underrated.
Sparks maintain a sophistication that stands up with older work, complete with a production sheen, giving their idiosyncratic backdrop a contemporary flavor.
The Convenience’s Like Cartoon Vampire sees the New Orleans post-punk duo abandoning synthpop for a more primal rock sound.
Matron’s Sunken State is such an enjoyable ride. It combines math rock’s complex, zig-zagging musical avenues with dream pop and plenty of good hooks.
The Ophelias sound like they are just getting to their best work on Spring Grove, and it is thrilling to hear them push themselves to new heights.
Black Country New Road’s new LP embraces ornate baroque pop, shifting from raw intensity to intricate melancholy. Brilliant yet overstuffed, it rewards patience.
Yes’ Close to the Edge remains a progressive rock landmark, but Rhino’s new Super Deluxe Edition does little to further that legacy.
Wilco are always full of surprises. Their lineup has changed frequently and reveals a group constantly pushing themselves into uncharted musical territory.