Too many hip-hop artists stick to defined lanes, but Run the Jewels aspire to run rampant, with a growing sophistication as well as heart, wit, and rage.
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.
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.
Sigma Oasis is one of Phish’s better albums since the group reunited in 2009 after a five-year breakup.
The band has tackled the Trump era with an urgent political edge on two recent albums that have surely lost them a share of good ’ole boys who were part of earlier audiences.
Composer Steve Lampert wrote “Zigsaw” at the request of saxophonist Noah Preminger, whose group recorded it for one of 2019’s most provocative albums.
For all the teen-pop trappings, however, there is an old-fashioned sensibility to Rex Orange County’s music.
So, after three original albums (plus a re-imagining of Joni Mitchell’s Blue) that fell short of wide acclaim, perhaps it was only a matter of time for them to think big.
Our expert music critics serve up their usual highly eclectic round-up of the year’s most memorable.
Nearly halfway into the set, Twigs finally turned to Magdalene, which casts an empowering light on Jesus Christ’s female companion — and stands among 2019’s best albums.