Review: Destroyer – Dan’s Boogie
Destroyer settle into a more familiar, predictable groove on their 14th album Dan’s Boogie.
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Destroyer settle into a more familiar, predictable groove on their 14th album Dan’s Boogie.
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Sinister Grift is Lennox’s first album that truly shows off his knack for pop songwriting from start to finish.
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The Human Fear is a perfectly adequate album that you’ll wish you didn’t have to wait seven years to hear.
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Even though Five Dice, All Threes is a solid effort from Bright Eyes, it also doesn’t really offer anything you haven’t heard before.
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On the Voidz’ third album Like All Before You, the band’s experimentation gets distilled into…autotune and muted vocals?
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On their fourth album Romance, Fontaines D.C. step away from the darkness and into the 90s and early 2000s.
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No Name is the closest we’ll get to a seventh White Stripes album, and is arguably White’s best solo release.
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The Decemberists’ ninth album As It Ever Was, So It Will Be Again revisits the traditional Americana sound of The King is Dead, with a few twists.
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Only God Was Above Us succeeds by being more expansive than early Vampire Weekend and much more cohesive than Father of the Bride
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MGMT’s fifth album sounds nothing like its predecessor Little Dark Age, and shows a previously unseen, more vulnerable side to the duo.
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The Vaccines sixth album Pick-Up Full of Pink Carnations is an incredibly safe return to form for the band.
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The National’s second full-length album of 2023 emphasizes both the strengths and the weaknesses of its predecessor.
Review: The National – Laugh Track Read More »