Cotton Mather’s Kontiki sports almost relentless invention, vitality, toughness, brightness, and irrepressible exuberance—a powder keg full of the joy of making music.
The Comet Is Coming’s sound is hard to define (psychedelic rave jazz?), landing them on confusing festival lineups. They couldn’t be happier about it.
Magical Mystery Tour was an innovative hybrid if never quite adequately realized. As a chapter in the life of the Beatles, it continues to exert fascination.
Grateful Dead icon Bob Weir celebrates his 75th birthday with three jam-packed nights at the Warfield Theater with his cosmic cowboy band the Wolf Bros.
At the end of the show, fans are left in a pleasant daze. King Gizzard & the Lizard Wizard have metaphysically destroyed Berkeley, California’s Greek Theater.
The Mars Volta becomes more rewarding with repetition. Despite the outwardly more accessible style, the group has stuffed it full of intriguing musical choices.
En Är För Mycket is even brighter and bolder than Dungen’s past works, transfiguring pastoral impressions into wild explorations of fuzzy, feedback-heavy brilliance.
The Reptilian Government possess a rhythmic 1970s funk sensibility more suited to Kool and the Gang than EDM – if Kool featured intricate solos and curated prog-rock aspirations.
Whether the songs concern racism, family matters, or dancing, one feels the music as well as hears it in Brandi and the Alexanders’ REFLECTION.
The Shore’s Light Years boasts a seductive intimacy typically reserved for baroque pop, while still flexing its arena-rock Britpop swagger. Too bad nobody ever heard it.
The Heavy Heavy’s ‘Life and Life Only’ mashes up soul, psych, mod, and a tinge of eerie folk to create ’60s sound thrillingly at odds with today’s pop charts.