Review: Beirut – Artifacts
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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Artifacts highlights both Condon’s maximalist, full-sounding folk side and his scaled-back electronic side, making it a great introduction to Beirut.
Review: Beirut – Artifacts Read More »
The Vaccines’ fifth album Back in Love City expands their sound even further, doing so from the most unexpected of places.
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You might not have even noticed they were gone, but Islands are back and better than ever on Islomania.
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Is 4 Lovers has the trappings of a new Death From Above 1979 to lead us into the 2020s, but spends most of its time recalling the band’s early intensity
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Serpentine Prison shows a new side of Matt Berninger, but it’s hard to imagine anyone other than existing fans of the National picking it up.
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Everything Else Has Gone Wrong is less a grand comeback album than a warm “welcome back” album.
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The synthpop of UR FUN make it the most accessible of Montreal in some time, though longer-term fans may be less easily impressed.
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Less original than its predecessor, Everything Not Saved Will Be Lost Part 2 works best when rocking hard.
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“Let’s Rock” had everything needed to be groundbreaking, but instead, it’s the closest the Black Keys have come to making a stereotypical Black Keys album.
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The National’s eighth album I Am Easy to Find is not just an introduction to a new sound for the band, but also one of the most powerful albums you’ll hear this year.
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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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