Music Reviews
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Lydia Loveless Daugher
Fresh from a break from the industry, alt-country star Lydia Loveless returns with Daughter, her first album to be released on her own imprint: Honey, You're Gonna Be Late Records,
Ethan Gordon reviews... -
Idles Ultra Mono
In Ultra Mono, IDLES up the ante to retain their crown of best punk band going.
Mark Moody reviews... -
Doves The Universal Want
The Machester trio return after a decade-long absence with lush, stunning post-Britpop that evokes a sense of nostalgia both thematically and musically.
Juan Edgardo Rodríguez reviews... -
Into It. Over It Figure
Figure is an album filled with Into It. Over It. trademarks: conversational lyrical sentiments, the occasional math-rock guitar part, and anchoring drums. But even with Evan Thomas Weiss' sturdy, commonly excellent songwriting, it just never clicks.
Ethan Gordon reviews... -
Widowspeak Plum
The Brooklyn duo's insight into their practical concerns is efficient, pleasant, and never overbearing—providing just enough details as they allow their smooth country-pop arrangements to take flight.
Juan Edgardo Rodríguez reviews... -
Ruston Kelly Shape & Destroy
The singer-songwriter's talent for frank, moderately depressing songwriting is still displayed, but Shape & Destroy doesn’t have quite the candor and quality of his first full-length.
Ethan Gordon reviews... -
Katy Perry Smile
After a three-year wait, the pop singer's latest backtracks so much from 2017's Witness that she seems convinced it never happened.
Ethan Gordon reviews... -
Bully Sugaregg
The band-turned-solo project of Alicia Bognanno feels more focused on loss and personal change than ever before on her third album.
Ethan Gordon reviews... -
EEP Death of a Very Good Machine
An El Paso, Texas, shoegaze group's self-released debut is a reminder that independent rock is as vibrant and vital as ever.
Kirk Sever reviews... -
Bright Eyes Down in the Weeds, Where the World Once Was
Though Bright Eyes' reunion is a cause of celebration, Down in the Weeds is at odds with itself—where the band balances music that is ambitious in scope with some of Oberst's most nakedly personal work.
Juan Edgardo Rodríguez reviews...
