Reviews

Amen Dunes Crafts Freedom Into His Most Compelling Album Yet

Just shy of a decade ago, Damon McMahon—the singular lifeblood of Amen Dunes—began releasing his beguiling music. On the 2009 Locust Records LP DIA, an…
Dale Eisinger / March 29, 2018

Review: Toni Braxton’s Sex & Cigarettes Needs More of Both

What a tease! With a title like Sex & Cigarettes and a black-and-pink image of its lingerie-clad creator taking a puff of what looks like a…
Rich Juzwiak / March 28, 2018

Jack White’s Boarding House Reach Could Use Some Cleaning Up

If Jack White cannot get to the point on his third solo effort Boarding House Reach, we will: this album is a mess. It’s not…
Brad Shoup / March 23, 2018

Review: Meshell Ndegeocello’s Ventriloquism Is the Rare Perfect Covers Album

In the 25 years since her Grammy-nominated debut album Plantation Lullabies, Meshell Ndegeocello has traveled quite the musical road with a blend of funk, soul, and…
Thomas Inskeep / March 22, 2018

Review: Yo La Tengo Keep Dream, Dreaming Away on There’s a Riot Going On

The most vulgar thing about Yo La Tengo’s latest is its nod to Sly and the Family Stone’s 1971 landmark: on the Hoboken trio’s fifteenth…
Alfred Soto / March 20, 2018

Review: of Montreal’s White Is Relic/Irrealis Mood Might Make Sense to One Person Only

Is Kevin Barnes a man out of time or just someone wearing a broken watch? The of Montreal bandleader has spent the majority of his…
Larry Fitzmaurice / March 20, 2018

Review: The Breeders’ All Nerve Is a Delightful Toss-Off

Few words describe Kim Deal’s songwriting and delivery of emotion better than "terse." In the Pixies and a series of Breeders albums she presented herself…
Alfred Soto / March 20, 2018

Review: Mount Eerie’s Heartrending Now Only Is a Beautiful Reflection on Grief

Almost a year since its release, A Crow Looked at Me remains a singular crucible. Bluntly diaristic and relatively artless, Phil Elverum’s requiem for the…
Raymond Cummings / March 19, 2018

Review: Tracey Thorn Is Still Perfecting Emotionally Devastating Dance-Pop

"Oh, Jens," the English singer-songwriter Tracey Thorn sighed, with gentle impatience, on her 2010 insta-classic "Oh, the Divorces!", a delectable little gallery of estrangements. "Oh,…
Brian Howe / March 19, 2018

Review: Lil Yachty’s Lil Boat 2 Takes on Water

On his debut studio album, last year's Teenage Emotions, the then-teenaged Lil Yachty grappled with criticism by trying to prove he was something people said he…
Joshua Minsoo Kim / March 16, 2018

Review: Camp Cope Dive Deeper Than Ever on How to Socialise & Make Friends

Look right past the charming title: Camp Cope don’t care about a popularity contest. On How to Socialise & Make Friends, the Melbourne…
Anna Gaca / March 15, 2018

Review: The Men’s Drift Does Just That

On previous albums New Moon and Tomorrow's Hits, The Men were coming to your town to help you party down, even as their reputation as unpredictable shapeshifters was…
Ian Cohen / March 13, 2018

Review: Oneida Return Thoughtfully To Their Chaos on Romance

To find vocals in the last eight years of Oneida’s studio work, feed the Brooklyn quintet’s uncompromising rock’n’ruin through a colander. Early on, the band’s…
Raymond Cummings / March 9, 2018

David Byrne’s American Utopia Gets Caught Between Pop and Experimentation

American Utopia is the first David Byrne release to be billed as a pure solo album since 2004’s Grown Backwards, but it has more in…
Andy Cush / March 8, 2018

Review: Moby’s Everything Was Beautiful, and Nothing Hurt Is an Uninspired Take on Trip-Hop

Moby's recent output has been as varied as you would expect: He's issued ambient records (2016's Long Ambients 1: Calm. Sleep), remix efforts and…
Annie Zaleski / March 6, 2018
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