Rock
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.
The Strokes are finally growing up — and their maturity is a sight to behold.
Darkness is pervasive in this Cowboy Junkies album, but it is not all-encompassing.
Sigma Oasis is one of Phish’s better albums since the group reunited in 2009 after a five-year breakup.
Childish Gambino is hamstrung by ambition, but 3.15.20 still contains a bevy of enjoyable songs, including one or two tracks that brush against brilliance.
Bob Dylan’s new song not only articulates the madness that undermines the American experience, but supplies a certain kind of corrective, a tonic, for that kind of insanity.
The new album demonstrates just how versatile a singer/songwriter Mike Mattison really is.
Ironically, Mixing Colours is best experienced by taking in its video presentations.
At its best, The Slow Rush features catchy, energetic, and danceable tracks at the service of lyrical ruminations on dark topics, such as uncertainty and the inevitable passage of time.
Adam Sherman, Cambridge-based musician, voice teacher, and vocal coach never went away.
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