Once again, despite a trademark sound the band has lovingly crafted over the course of five albums, Black Moth Super Rainbow still shows a lack of effort in the song development department. WATCH THE REVIEW
The Soft Moon’s latest album is certainly a feat when considering the album’s texture-rich sound and gothic mood. However, where the band’s style succeeds, songwriting falls short. WATCH THE REVIEW
On the Bad Plus’ latest record, the band continues to focus more on original material than their career-defining covers, and the band manages to create some pretty fantastic, modern jazz tracks in the process–not to mention incorporate synths and drum machines into many of these tunes, too. WATCH THE
Ex-Makeout Videotape frontman Mac DeMarco drops his second full-length album this year, which features a much more free-spirited personality than his solo debut earlier this year. WATCH THE REVIEW
Though the latest effort from Pig Destroyer is undeniably an all-out riff fest, I’m not feeling the same thrilling level of intensity I typically enjoy from this genre in general. WATCH THE REVIEW
On 3:33’s latest effort, the experimental and drone-influenced beatmusic project widens its sonic frequency, and gets pretty ambitious with a 41-minute closing track. WATCH THE REVIEW
With good kid, m.A.A.d. city, Compton rapper Kendrick Lamar drops what’s easily hip hop’s most cinematic album of 2012.
While not as focused as 2007’s Below the Heavens, what Blu & Exile do on this new and remastered collection of tracks is nonetheless interesting, smooth, and entertaining. WATCH THE REVIEW
As Daphni, electronic music veteran Daniel Snaith–if you’ll allow me to call him that–assembles a series of straightforward and colorful tech house tracks. WATCH THE REVIEW
On their sixth studio album, Between the Buried and Me creates its campiest album yet, blending their usual progressive tendencies with the overly theatrical antics of bands like Dream Theater. WATCH THE REVIEW
