
KEELEY’s New Album Sports Soaring Guitars
Rock guitars form the central DNA of KEELEY’s new record, Girl on the Edge of the World, for all the glory it can muster.

Rock guitars form the central DNA of KEELEY’s new record, Girl on the Edge of the World, for all the glory it can muster.

Listening to The Return of the Durutti Column is like being given the key to a world that, while not as secret as before, is well worth exploring.

Slow Crush’s Thirst has scattered interesting musical moments, but much of it is buried under constant guitar noise and not enough melody.

Flint, Michigan band Greet Death’s latest album is a triumph of accepting endings and appreciating life’s pleasures in their time.

Singer Ellie Rowsell shines as a genuine rock god goddess as Wolf Alice rock a dazzling array of sonic flavors. It’s been a sensational night in Oakland.

Jay Som’s guitar may have taken a more minor role, but the production and attention to the tiniest details throughout Belong show a new level of artistry.

Laveda’s Love, Darla is impressive, bridging the sounds of 1980s punk with 1990s grunge, the result of a band that won’t compromise their no-frills aesthetic.

Blonde Redhead prove they’ve got just as much style as substance on their new record. They follow their instincts and make remarkably well-crafted music.
Indianapolis indie poppers Wishy are building on the success of their debut with an EP and more new songs on the way. They chat with PopMatters about it.

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.

Former Galaxie 500 frontperson Dean Wareham speaks about his latest solo album’s themes, which coincide with the recent Los Angeles fires and the eternal political moment.

Dean Wareham savors meaningful relationships, especially when their collaboration is this kinetic. The Price of Loving Me shows noticeable depth.