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.
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.
Beyoncé's Homecoming is one of the most impressive shows ever, but its need to tell us how impressive it is deflates some of its awe.
Drew Daniel of Baltimore-via-Bay Area pranksters Matmos discusses their new album Plastic Anniversary, homophobic Montana moms, and the difficulties of recording a breast implant.
Bay Area political punk band, SWMRS talk about changing their name, recording in conference rooms, and committing to social justice as a rock band.