Entering Heaven Alive is White’s first effort based entirely around the Americana sound he’s flirted with for decades, and let’s hope it’s his only album like this.
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Artifacts highlights both Condon’s maximalist, full-sounding folk side and his scaled-back electronic side, making it a great introduction to Beirut.
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You’ll be glad Kings of Convenience are back after 12 years, but Peace or Love doesn’t surpass the duo’s 2000s releases.
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Down in the Weeds, Where the World Once Was brings all the aspects of past Bright Eyes together at once, and then turns everything up to 11.
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For all his musical unpredictability lately, Stephen Malkmus certainly sounds like he knows what he’s doing on the folksy Traditional Techniques.
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Bon Iver’s fourth album i,i is full of solid tracks we’ve come to expect from them, but is also their first release that might make you think “let’s not get ahead of ourselves.”
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Help Us Stranger might not break new ground for the Raconteurs, but you’ll still be glad the gang are back together after 11 years.
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Gallipoli might promise visions of European sophistication and exoticism, but its already well-explored musical terrain makes it feel much more familiar.
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I’ll Be Your Girl occasionally shows signs of brilliance, but its indecisiveness results less in ingenuity and more in blandness.
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It’s been nearly a decade since Bon Iver first released music that made their name a cultural touchstone, or at least an indie music touchstone. If that seems like a strong word choice, realize that many see frontman Justin Vernon as the perfect indie music archetype or stereotype (depending on who you ask). In a
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