The Who Release an Anemic Mix of a 1982 Historic Show
The third live album of the Who’s 1982 farewell tour improves little on the others. It’s hard to imagine that modern recording technology couldn’t have helped.
The third live album of the Who’s 1982 farewell tour improves little on the others. It’s hard to imagine that modern recording technology couldn’t have helped.
Experimentalist Erika Angell has a deep track record of producing intriguing music, but here, under her own name, it feels like she’s created her masterwork.
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.
On Bright Future, Big Thief’s Adrianne Lenker proves how much you can do with so little that you don’t need a ton of flash to craft a stunning record.
On Jlin’s Akoma, composers long recognized for their innovations, such as Philip Glass, the Kronos Quartet, and Björk, are pulled into her orbit.
The Church’s “companion piece” to The Hypnogogue is just as good. It didn’t take long for the veteran Aussie psych-rockers to break in their new lineup.
Celebrated saxophonist Josh Johnson infuses his music with various styles on this surprisingly accessible new LP of processed, ambient jazz.
The Dead South’s Chains & Stakes picks up where their last LP, 2019’s Sugar & Joy, left off. These 13 tracks lean toward hard-edged bluegrass and dark stories.
John Moreland’s gift to listeners is rooted in his alienation, as on his latest album, Visitor. We visit his world as a way to find ourselves.
Charlie Parr remains aware of his blues tradition, but he mostly moves into his own space, building on his roots background with creativity for Little Sun.
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.
British indie artist Jane Weaver bridges the experimental textures of her earlier work with accessible pop gestures on her latest album.