Ana Frango Elétrico’s authentically vintage fusion of chamber pop, rock, samba, and jazz is a real blast!
Big Thief’s second album of 2019 takes the band’s sound back to basics, which is far from a bad thing.
Richard Dawson outdoes himself with this modernist spiritual successor to 2017’s Peasant.
By virtue of its moving vocal performances and lyricism, Ghosteen is among Nick Cave’s finest statements—even if its sound design often leaves something to be desired.
A quick review of the new Kero Kero Bonito EP—it’s good!
Some of Angel Olsen’s unique personality traits as a singer-songwriter sadly get lost in All Mirrors‘ grander instrumental palette.
Sturgill Simpson’s rock experimentation on Sound & Fury sometimes goes over well; other times it goes awfully awry.
Terror Management‘s often humdrum production and lack of development makes it one of Billy Woods’ least gratifying works. It’s still a cut above many rappers’ best, though.
For the most part, uknowhatimsayin¿ is an amusingly subversive update on some classic rap formulas.
The magical monthly segment where Anthony briefly touches down on a gauntlet of albums he didn’t get a chance to review this past month. These are just his short, straightforward, passionate, biased opinions.
