
Weezer Are in Their Golden Age
With their new album, Gold, will Weezer’s conscious uncoupling from technology’s crutches signal a less precise, perhaps less pop, sound?

With their new album, Gold, will Weezer’s conscious uncoupling from technology’s crutches signal a less precise, perhaps less pop, sound?

Cheekface’s oddball point of view is a big draw, but their willingness to turn their sardonicism toward current events is a good way for them to meet the moment.

Weird Nightmare’s take on classic power pop is hard-rocking and catchy, but the songwriting is rarely distinct enough to rise above the level of pastiche.

They Might Be Giants produce banger tracks, some really weird, very successful experiments, and another handful of songs where listeners’ mileage may vary.

Marc Valentine creates an ebullient and concise album. The buzzsaw hooks hit their intended goals; the vocal leaps are concrete and aspirational.

5 Seconds of Summer add a new dimension to their reliable pop-punk formula by analyzing their own fame on Everyone’s a Star.

Lemonhead Evan Dando’s long-awaited memoir is an engaging, sometimes harrowing, trip through the 1990s alternative rock boom.

The Lemonheads’ Evan Dando returns with his first collection of originals in quite some time, adding country and psychedelia to the mix.

Catchy melodies and big guitars are the order of the day on Sloan’s 14th album, with a side of Chris Murph’s jauntier piano-driven songs to change things up.

The New Pornographers took their power pop to another level on Twin Cinema, with Carl Newman’s impeccable songwriting and all three vocalists dialed in.

If we need an example of someone who embodies strength and vulnerability as non-dual, Courtney Love rules. She will also eat your pasta and not give a fuck.

The Beths’ Straight Line Was a Lie is full of catchy hooks, big guitar riffs, and often introspective lyrics. The New Zealand quartet are at the top of their game.