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.
Following Robed in Rareness from last fall, Shabazz Palaces continues a provisional series with the cryptic and digressive Exotic Birds of Prey.
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.
Canadian noise punks go widescreen on their latest to thrilling effect. METZ embrace melody but still bring the noise Up on Gravity Hill.
Polish duo Coals always looks for something new in music, and Sanatorium is no different. But in the lyrics and emotions, it’s a return to the past.
Avalanche Kaito’s Talitakum is one of the most intriguing albums this year so far. It’s a work of futurist folk-rock and a mixed-media sculpture.
Older hones in on what makes Lizzy McAlpine a compelling artist: astute observations of being young and in love and still learning what those things mean.
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.