Daniel Bromfield is a writer and musician who splits his time between San Francisco, CA and Eugene, OR. In addition to PopMatters, his work has appeared in Resident Advisor, San Francisco Magazine, SF Bay Guardian, Pretty Much Amazing, and Spectrum Culture. His work can be found at danielbromfield.com.
Washed Out's Purple Noon makes an argument against cynicism simply by existing and sounding as good as it does.
Help! is the record on which the Beatles really started to investigate just how much they could get away with. The album was released 55 years ago this week, and it's the kick-off to our new "All Things Reconsidered" series.
Despite its reverence for the roots of house music, an appealing eeriness blows through electronic producer Shinichi Atobe's Yes like a salty sea breeze.
Sasu Ripatti's first Vladislav Delay album in six years, Rakka, is his shortest and most brutal, tying his electronic music legacy to his metal roots.
Dan Bejar seems omnipresent on Destroyer's first album of the 2020s, moving through the arrangements at his own whim.
Prince's 1999 is not so much one of the greatest albums of all time as a curation from an amorphous mass of music that might be one of the greatest achievements in pop.
Electronic music is a huge tent with so many diverse approaches, and it's more international than ever with producers around the globe pushing music forward. The year's best albums featured returns from established talents, as well as ground-breaking newcomers, and a host of women changing the old boy's club of electronic music.
As Pan American, Mark Nelson sings for the first time since his magnum opus Quiet City, but his emotions are most powerfully expressed through his instrumental guitar compositions.
Los Angeles pop weirdo Ariel Pink looks back at two early records freshly reissued by Mexican Summer and discusses his new Odditties Sodomies Vol. 2 rarities collection.
Detroit rapper Danny Brown's uknowhatimsayin¿ is a spare, principled record that's mostly about hard beats and harder bars.
Jenny Hval's The Practice of Love is a playful, conceptual pop record that makes sorting through its heady themes as fun as listening to it.
Scott Morgan makes emptiness feel heavy on Equivalents, an album inspired by Albert Stieglitz's photographs of clouds.
Justin Vernon's (Bon Iver) lyricism is as cryptic as ever, but the firmness with which he sings his abstractions robs his fourth album of much of its mystery.
On Sinner, Detroit producer Moodymann lets us listen in on the hallucinatory, self-contradictory conversation he's perpetually having with himself.
The genre-agnostic "Old Town Road" rapper's lyrics are less interesting than the scenery Lil Nas X drops them in.
Inspired by the traumatic circumstances of his child's early birth, Kevin Richard Martin's Sirens is one of the most frightening works of domestic horror ever committed to record.
Earthen Sea's lavishly detailed new album, Grass and Trees, sounds like a classic dub-techno album but somehow doesn't feel like one.
Sarah Davachi asserts herself as a composer rather than a mere ambient artist on these four ghostly tracks that comprise Pale Bloom.
Mac DeMarco's Here Comes the Cowboy's eerie calm reflects the domestic quietness every adolescent party animal fears.