Dry Cleaning Seek Bright Spots Amid a Deadened London on ‘Stumpwork’
Dry Cleaning follow last year’s breakthrough debut with Stumpwork‘s indie-flavored post-punk woven together via Florence Shaw’s dispassionate musings.
Dry Cleaning follow last year’s breakthrough debut with Stumpwork‘s indie-flavored post-punk woven together via Florence Shaw’s dispassionate musings.
However the Cult cultivate their energy, Under the Midnight Sun sits below their most essential albums while looking down on their more awkward moments.
Bob Weir and the Wolf Bros. are a new framework for interpreting the Grateful Dead that’s more interested in the true essence of the music.
Chicago experimentalists Edith Judith combine unique arrangements and beautifully crafted songs on their debut album, Bones & Structure.
Morfo is an amplification of everything making Charlotte Dos Santos an entrancing artist: gossamer voice, luscious atmosphere, and a pervasive sense of wonder.
Live in Cuxhaven 1976 enjoys life as a short-but-sweet footnote in a mind-blowing campaign reminding that a live Can performance must have been incredible.
Lou Reed and John Cale hint at the other side of the swinging ’60s with a fascinating collection of mid-’60s demo recordings for the Velvet Underground.
The 1975 want to be funny in a foreign language, but on their fifth go-round, their ambitions are tempered in plain English.
Free of major-label constraints, Tove Lo turns her dark sex-positive pop into something wiser and mature. Yet fans need not worry as Dirt Femme‘s BPM still kicks.
The Paranoyds channel campy 1950s sci-fi with punk-inspired garage rock on their second full-length LP and first for Third Man Records, Talk Talk Talk.
Rory Block offers blues takes on female pop hits. The best songs on Ain’t Nobody Worried showcase her soulful guitar playing as much as her expressive voice.
Putumayo’s Afro-Cubano continues the breezy, tropical tour of the world, pouring new ingredients into their familiar aural elixir.