album
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Damon Albarn’s latest record may be slightly passionless and relentlessly dreary, but he delivers some stand-out songs throughout the tracklist here.
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With Christmas Island, Andrew Jackson Jihad comes through with what’s essentially their pop album. While the band brings plenty of concise tracks with straightforward instrumentation, they mostly lack the emotional impact of previous material–the instrumental finesse, too.
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This Sleaford Mods record is pretty one-dimensional with its endless rants and repetitive beats, but I have to admit that this Nottingham duo’s style is awesome.
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Montreal’s Ought displays a pretty wide set of influences on this debut record of theirs, including experimental folk rock to tracks that blend sounds of Midwest emo with the dismal emotions of bands like Slint.
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Between the basic flows, uninteresting lyricism, and ridiculous “singing” that’s barely masked by the auto-tune it’s slathered in, I’m honestly not finding much of anything to like about the new Future record. The beats are decent sometimes…
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tUnE-yArDs’ latest record is just the fun, eccentric, and wild shot pop music needed in 2014.
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If you need something to counteract the resulting anxiety of Russia’s latest bids for world domination, then ABC Galaxy (Roman Skarednov) has made the album for you. Captain Eureka offers an impossibly optimistic outlook of the world in these stressful time, laden with some of the most colorful, kooky
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So many sounds coming together on this upcoming full-length from Yvette. This is truly a twisted display of noise rock, industrial, and no wave. I’d say there are some gothic undertones worked into the mix as well–especially on tracks like “Everything In Reverse.” The band’s approach to
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Lord Mantis’ latest record bring noise and ambitious songwriting into the fold of their heavy, blackened sludge.
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Pixies return with a textbook example of a disappointing comeback record.
