Elvis Costello’s Mighty Like a Rose is among his most unjustly maligned albums, making it ripe for reexamination.
The Dead Space had promise. Many in Austin saw it from the get-go on their first LP, Faker. However, the sophomore slump hits these guys hard on Chlorine Sleep.
Rivers Cuomo can preach the gospel of Sabbath with all the sincerity he can summon; there’s still no other way to process Van Weezer than with a tongue planted in a winking cheek somewhere.
Surprise shows that the familiar pleasures of Paul Simon’s work are the themes and musical sparks that leave a lasting influence.
Marianne Faithfull’s She Walks in Beauty captures the sad, reflective mood of the world. It’s an apt period to a very long and moving sentence.
Peter Stanfield’s ‘A Band With Built-In Hate’ highlights redundancy, aggression, obsolescence, and ambiguity in Townshend’s lyrical stance and the Who’s performing methods.
Yoko Ono’s story is of a passionate and powerful songwriter and artist. A creative and sensitive musician who worked doggedly to bring her avant-garde aesthetic to pop music and to use her voice to advocate for the rights of women, racial minorities, and LGBTQ people.
The Prize Fighter Inferno’s The City Introvert has a safe superficiality, combined with a few moments of out-and-out cringe, making it above-average at best.
Imelda May’s 11 Past the Hour seems a deliberate attempt to widen her audience in the US. The music is much more conventional than her earlier records.