Norway’s Mall Girl combine powerful math rock with alt-pop dreaminess on their debut album Superstar, where languid melodies reside with fast tempos and technical playing.
Whimsical’s Melt strikes a pleasing balance between droning Slowdive wash and a more kinetic Lush vitality – while also unafraid to slow things down.
From its very first notes, Priestgate’s debut EP maintains enough fresh personality to differentiate the band from their avowed early ’80s mentors.
By pumping things up with a classic 1980s arena aesthetic, No Suits in Miami’s Nothing Ever Happens radiates enough summery intensity for tape-deck cruisers to savor.
The songs on Jenny Hval’s latest album, Classic Objects, are purposely dreamlike and intended to inspire her audience’s reveries. Hval succeeds in creating a dreamlike state.
Beach House are always tinkering around the edges of their sonic universe, getting darker, weirder, subtler, and more expansive. They do that on Once Twice Melody, and the payoff is enormous.
In the 30 years since its release, the Church’s Priest=Aura has gone from a post-“Under the Milky Way” footnote to an acknowledged career pinnacle.
Glenn Donaldson discusses his new album as the Reds, Pinks & Purples and how good pop can stop you cold in your parked car waiting for a song to finish.
Unorthodox subject matter and an ability to find the more macabre aspects of daily life take Marissa Nadler in fresh, less explored directions on The Wrath of the Clouds.
Lana Del Rey’s major-label debut Born to Die provides a roadmap for her songwriting journey, and her personification of America reinvents the past to tell modern stories.
Immersion into Elena Setién’s Unfamiliar Minds is not unlike watching a bowl being coaxed into shape on a potter’s wheel. The slightest touches can send it in another direction.
Indie folk artist Lotte Kestner shares her haunting new single “Slip”, which appears on her upcoming album Lost Songs and is one of its darkest songs.