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Skullcrusher's Debut EP Is a Melancholic Slice of Indie Slacker-Folk

If you haven't yet been driven mad by quarantine. then this insular stay-at-home record from indie folk's Skullcrusher may be for you.


Protomartyr's 'Ultimate Success Today' Succeeds in Reflecting Our Times

Post-punk's Protomartyr have honed their sound into something apocalyptic on their defiantly modernist Ultimate Success Today.


Wire's '10:20' Is Greater Than the Sum of Its Parts

On 10:20, Wire retain the sound they've been cultivating for the last few albums and use it to reinvigorate and reinterpret tracks from their various periods.


Luke Schneider's 'Altar of Harmony' Hews Close to Ambient Tradition

Luke Schneider's Altar of Harmony often sounds eerily close to the Robert Fripp guitar of No Pussyfooting, only he trades in the old six-string for pedal steel.


The Chats' 'High Risk Behaviour'  Screams Hilarious Attitude

Fast and funny, the Chats' "dumb" punk record, High Risk Behavior, is smarter and more interesting than anything Muse has ever done.


Bobby Conn's 'Recovery' Is Occasionally Excellent

If Bobby Conn's Recovery were the kind of queer red disco deconstruction that it almost is, it would be excellent, but that's not even half the record's runtime.


The Boomtown Rats' 'Citizens of Boomtown' Is a Failed Stab at Relevance

After listening to the Boomtown Rats' Citizens of Boomtown, you can't help but wonder if another vanity project is the kind of activism we need to combat the injustices of the world.


Wire's 'Mind Hive' Shows the Post-Punk Band at Their Inimitable Best

Post-punk pioneers Wire continue their late period renaissance with a new synthesis of all of their most endearing qualities on Mind Hive.


Coil's 'Stolen & Contaminated Songs' Is a Document of a Different Time

Coil's undeniable sonic invention can't quite mask an almost quaint self-seriousness on their 1992 album, Stolen & Contaminated Songs, which was recently re-released.

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