Ascending Mount Kimbie on ‘The Sunset Violent’
Mount Kimbie stir their influences into The Sunset Violent so well that it’s distinctly a record of theirs and an enjoyable one at that.
Mount Kimbie stir their influences into The Sunset Violent so well that it’s distinctly a record of theirs and an enjoyable one at that.
Antwerp Belgium’s Disorientations completely revamp their “Chameleons/Echo and the Bunnymen” post-punk sound on this impressive sophomore effort.
Les Savy Fav’s OUI, LSF is an energetic blast of post-punk that makes many of the newer bands in that scene sound pale in comparison.
Cyril Cyril’s Le Futur Ça Marche Pas is for agitators, a genre-be-damned assemblage of poetry and vivid effects in the form of well-produced electronic rock.
Forty-five years after Elvis Costello’s Armed Forces first arrived in record stores, its commentary on fascism is extremely relevant to today’s politics.
This gargantuan post-punk collection has legends like Joy Division and the Cure, but it’s the lesser-knowns who provide the many unexpected thrills.
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.
Rock guitar virtuoso Mary Timony’s Untame the Tiger is a clear–eyed, unsentimental, top-shelf record that emerged during hard times.
Deerhunter’s Weird Era Cont., the companion to Microcastle, lives in its shadow and yet eclipses it with a bizarre brilliance all its own.
Sprints’ lyrics are sharp and direct and their musicianship provides tension and release across all 11 songs, which have a hooky rawness that is addictive.
IDLES are an easy band to like. They present a vision for hard rock and punk rock that’s inclusive, empathic, and open-hearted on their latest LP, TANGK.
Souvenir finds Omni continuing to carve out a distinct identity (with an exacto knife) and shining among the glut of post-punk revivalist bands.