Caravan Palace’s ‘Chronologic’ sees them taking a dive into unexplored territory, poppy and hip-hop laden in turns, but still fused with their original ethos of electro-swing danceability.
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“Violence” reaffirms decisively that Grimes is one of the most talented producers active – male, female, or non-binary – and an artist with a clear aesthetic vision.
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Chronologic is a more uneven, poppy experience than previous Caravan Palace offerings, but in spite of it the group maintain their post as the best electro swing band around.
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Listening to “Bring It All Back” is a testament to how piercingly clear Leanne Tennant’s songwriting intent is.
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Necking’s debut ‘Cut Your Teeth’ is about building again, failing again, but in spite of its musical tone, always urges growth in bad situations.
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On “The Cleaner”, Squid treats listeners to a picturesque blend of talent, bitter lashing out, and the exhaustion of working over living.
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With ‘Flamagra’, Flying Lotus once again proves his ability as a producer, but with an album this multidisciplinary, it may be more accurate to call him a director.
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Band of Skulls’ Russell Marsden discusses musical experimentation, why labels don’t tell the whole story, and tenderness in a hard moment.
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Patience is the apotheosis of what punk can aspire to be: uncompromisingly pissed, achingly personal, and relentlessly compassionate.
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Dedicated is Carly Rae Jepsen’s answer to her newfound, more mature audience, while simultaneously feeling like a natural evolution to E•MO•TION.
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Rodrigo y Gabriela’s new album Mettavolution simultaneously draws more heavily on flamenco’s past and its future than any of their previous albums, blending them into a poignant tribute and an ambitious manifesto.
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Modest Mouse’s “Poison The Well” is a two minute encapsulation of 2019’s deep cultural angst, and well worth the listen.
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I just wish I had stuck with it, you know? Some days I’d give everything to just drop everything and tour the country in a van with my bros.
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Snarky Puppy’s most recent release, ‘Immigrance,’ may be their most mature offering yet – and that’s saying a lot about a band with unparalleled sonic elasticity and three Grammy awards.
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Philadelphia is the locus of a practical indie rock renaissance. Tiny Hueman is the product of that creative environment: they talk creative democracy, radio appearances, and Fred Durst.
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For all Beirut’s pretense of pessimism, Gallipoli’s driving force seems to be joy in music. You can feel it in the lush overtones, the sunny brass lines celebrating coastal Italian cities.
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Prolific duo Rodrigo y Gabriela’s masterful cover of “Echoes” is an ambitious and singular reimagining of Pink Floyd’s 1971 classic.
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Foals’ “Exits” doesn’t rehash the old Britrock ethos, but charges it with something evolved and expresses a deep feeling of powerlessness – being boxed in and surveilled with no recourse.
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