Rock
Down in the Weeds, Where the World Once Was is a natural next step forward for Bright Eyes, evolving while remaining true to their core identity.
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If we factor in the triple-size oversell crowd, the bad drugs circulating, and the home field advantage, there was plenty there to inspire The Stooges to raise some merry hell.
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In Limbo, Aminé’s become more reflective, yet he never loses sight his boisterous mischievousness.
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Partially completed before the pandemic hit and assembled during quarantine, the EP feels uniquely suited to ease our collective glumness.
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What Makes the Monkey Dance is a comprehensive examination of the life and career of an extraordinary artist that is smart enough to stop short of hagiography.
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The Oxford band’s third album dispenses with personality in favor of bland trap pop.
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New Fries’ latest effort never fails to stimulate: the band has crafted a record that challenges the idea of what a pop song is and can be — in two very different ways.
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When in doubt, lean towards letting the world in, advises Fontaines D.C.. It’s scary. In fact, you will probably be terrified most of the time. But do it anyway. With eyes open.
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Though it’s inconsistent, Oliver Tree ‘s debut album offers an ample display of songwriting acumen along with his determined eccentricities.
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The solo format at Alexandra Palace recalled his recent “Conversations with Nick Cave” tours, a similar chance for the singer to deconstruct his songs at the piano, except that he never addressed an imagined audience beyond his lyrics.
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The 20th Annual Francis Davis Jazz Critics Poll: The Institution Continues