From the haunted guitars to the impressionist vocals, from the most spell-binding drones to the brisk tempos, this is a Slowdive album through and through.
More Photographs has its moments, and for anyone wanting to explore old photos, memory, and mortality with Kevin Morby, it broadens the thinking.
Braiding stirring songwriting prowess and beautiful vocals, Durand Jones has created one of the most assured and brightest debut albums in quite some time.
On Wednesday’s spectacular Rat Saw God, the North Carolina quintet weave a vivid tapestry of misery led by Karly Hartzman’s ekphrastic storytelling.
Mitski’s Laurel Hell possesses a kind of weird timelessness. The album seems like an artifact from the past that somehow seems relevant in the present.
Sundowner and A Night at the Little Los Angeles work together to satisfy multiple moods and develop a complete picture of Kevin Morby’s work.
Durand Jones and the Indications push the boundaries of soul music with Private Space, reminding us that the genre was never a relic of the past.
On Sundowner, Kevin Morby sings of valleys, broken stars, pale nights, and the midwestern American sun. Most of the time, he's alone with his guitar and a haunting mellotron.
Bright Eyes may not technically be emo, but they are transcendently expressive, beatifically melancholic. Down in the Weeds is just the statement of grounding that we need as a respite from the churning chaos around us.
At 25, Phoebe Bridgers is an artist at the beginning of her career, though Punisher sounds more like the work of a time-tested veteran.