Alex Szeptycki
Song Machine rejuvenates the band’s core identity; it is the best music Gorillaz has made in a decade.
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For Fleet Foxes, Shore is impressively consistent. Each track presents a meticulously detailed soundscapes deepened by Robin Pecknold’s varied meditative perspectives.
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A.G. Cook’s undeniable talent shines through in spots, but the record suggests that the celebrated producer has a ways to go before stepping into his own as a solo artist.
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The intimate emotions captured by Hannah are enhanced by Lomelda’s ability to be both revelatory and inscrutable in the same breath.
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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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In Limbo, Aminé’s become more reflective, yet he never loses sight his boisterous mischievousness.
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The Oxford band’s third album dispenses with personality in favor of bland trap pop.
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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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Cloud Nothings’ latest effort is less muscular than their previous work, but it still contains its fair share of hooky bliss.
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Khruangbin’s principal strength lies in how well the musicians manage to fit together
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