Cloud Nothings’ ‘Final Summer’ Is a Masterclass in Indie Rock
Cloud Nothings have delivered record after record of catchy, energetic songs without getting stale or repetitive. Final Summer continues that streak.
Cloud Nothings have delivered record after record of catchy, energetic songs without getting stale or repetitive. Final Summer continues that streak.
Neo-Britpoppers Sunday League bring baroque rock muscle, energetic walls of sound, plus enough British pub swagger to nick your pint right off the bar.
Six Organs of Admittance’s Ben Chasny discusses late 1990s folk, music journalism, his independent publication, and new record Time Is Glass.
The songs on the Fiery Furnaces’ Widow City are like a multiverse 45; they’ll never be hits on this Earth but might sell millions in a world slightly tweaked.
Aaron Lee Tasjan often goes for a laugh with broad puns and subtle references to pop culture. Yes, he is funny, but he is also serious, seriously funny.
Has any songwriter used the words “things” and “sounds” and made small matters seem more significant and full of possibility as much as Built to Spill’s Doug Martsch?
Wilco’s net-streaming experiment with Yankee Hotel Foxtrot was part of the utopian promise for technology’s future, and it worked.
The Libertines’ All Quiet on the Eastern Esplanade is something of mixed bag, but it’s worth persisting with for its moments of beauty and always fun energy.
Ride continue their second phase with ‘Interplay’, an album full of melodic atmosphere lacking some of the creative yearning heard in their earlier work.
After breaking through with a lockdown-inspired set of songs, the Ratboys’ “post-country” stylings find a new audience, opening for the Decemberists.
Chastity Belt are dovish and disarming on Live Laugh Love, which explores the self. It’s unadulterated self-expression in its purest form.
Yard Act’s Where’s My Utopia? is a mother lode of cool sounds, critiques of late capitalism, meditation on fame’s futility, and a forecast of apocalyptic change.