Rock
Charli has successfully dramatized her impatiently jagged state of mind, supplying an emotionally honest stream of consciousness that suggests what she (and no doubt many others of her generation) is feeling and thinking in quarantine.
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On her solo debut, the former Paramore lead singer undergoes a startling transformation.
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“As artists, it’s our obligation to keep going. I really believe we have to push for the world to open up again.”
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Car Seat Headrest’s drive to show us something fresh permeates Making a Door Less Open, and that is admirable.
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All in all, this album a pretty easy recommendation for those who like Al Di Meola and/or the Beatles.
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Laurie Sargent and Billy Conway found their sanctuary under the big sky of rural Montana, and their art echoes the genuine nature of their lives, shared across the miles with their Boston base.
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An admiration for certain defeat permeates much of The Mountain Goats’ album Songs for Pierre Chuvin.
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The cumulative message of these heavy metal bands might be: “I see your pandemic, and I raise you one.”
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In Rock Bottom Rhapsody, Pokey LaFarge shows us where all America’s prophetic manias must lead: collapse.
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Not only is Fetch the Bolt Cutters the most stunning of Apple’s five albums, it’s the most impressive pop record of this young pandemic year, its bottled turmoil speaking to our own pent-up nerves.
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The 20th Annual Francis Davis Jazz Critics Poll: The Institution Continues