Although Father of the Bride can feel overwhelming at times, you can hear the years of labor that went into it, and it provides a robust start to a new chapter for Vampire Weekend.
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Lux Prima is the rare collaboration that highlights both artists’ strengths without showing compromise from either.
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Everything Not Saved Will Be Lost Part 1’s skillful incorporation more of electronic elements than Foals have ever used before will leave you pumped for volume 2.
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As Panda Bear’s most experimental album in 15 years, the largely acoustic guitar-based Buoys is soothing, subdued, and ultimately stale.
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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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Outer Peace sounds exactly as zen as you’d imagine, and its new sounds and introspective lyrics show that for Toro y Moi, serenity can still come with a sense of adventure.
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For better or worse, Razorlight has released an album that has seemingly time traveled from 2006 with Olympus Sleeping.
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A departure from their last two releases, Peter Bjorn and John’s eighth album Darker Days shows the band embracing a greater degree of creative freedom.
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TPC once again tries to upend everything you’d expect from a Tokyo Police Club album…just like its predecessors.
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AARTH shows the Joy Formidable pushing out of their comfort zone while still retaining the raw power and dynamic shifts found on Hitch.
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Interpol’s sixth album Marauder is a blend of their early 2000s heyday and the less angular El Pintor that shows the band evolving with confidence.
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Death Cab’s ninth studio album Thank You for Today is more of exactly what you’d expect from the seasoned indie rockers.
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