
Guerilla Toss Capture an Essence with ‘You’re Weird Now’
Guerilla Toss excel in portraying a tangible connection between band and listener, cutting through the prism of pretence for something more instantaneous.

Guerilla Toss excel in portraying a tangible connection between band and listener, cutting through the prism of pretence for something more instantaneous.

Thalia Zedek stays on the tipping point throughout this album, never resolving the tension, but constantly plunging into the heart of it with fearless verve.

Following up her novel while exploring the emotional pull of scents, Jenny Hval’s new glistening album has few peers. She discusses this in a new interview.

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.

Black Country New Road’s new LP embraces ornate baroque pop, shifting from raw intensity to intricate melancholy. Brilliant yet overstuffed, it rewards patience.

Radiohead’s first musically important album, The Bends is 30. It’s where the group’s experimental inclinations initially took flight.
Trees Speak’s attention to brevity alone on Timefold signals slightly less-chartered territory for music whose spaciousness seems so familiar.
Post-punk band the Dismemberment Plan’s Emergency & I is a landmark about loneliness, confusion, and isolation and how to bounce back from them.
Flow Critical Lucidity may not supersede Thurston Moore’s past career peaks. However, it reveals the unbounded possibilities of transformation available to him.
On the effervescent EELS, Being Dead make good on their promise not to repeat themselves on any song and dart through styles with relative ease to produce a gem.
Austin’s Being Dead offer up a bizarre, disjointed realm that constantly shifts, sweeping you up and launching you into the most unexpected places.
The start of Nick Cave and the Bad Seeds’ world tour brings transcendence to the German capital and shows there is no taming the Great Bard.