garage rock
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Bombastic production isn’t enough to save Help Us Stranger’s often shabby songwriting.
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Sleater-Kinney’s almost-swansong, The Woods, proved to be one of the 2000s’ most badass and essential rock albums.
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Courtney’s vocal performances aren’t much less humdrum on Tell Me How You Really Feel than they were on her debut, but the slightly brighter and more aggressive instrumentation this time around offers a welcome change of pace.
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All at Once boasts Screaming Females’ sharpest and catchiest songwriting in a long time.
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Sometimes cumbersome but mostly exciting, Ty Segall’s latest album is his longest and most ambitious yet.
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Mark Ronson’s flat production doesn’t do any favors for Villains, Queens of the Stone Age’s most mixed bag of tracks to date.
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Despite its overture, interludes, and finale, the new(ish) Black Lips album doesn’t quite succeed at being some sort of grand statement. However, the band still has a killer sound and delivers a plethora of great tracks here.
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Murder of the Universe might be King Gizzard’s most musically and conceptually ambitious project to date, but the execution leaves a lot to be desired.
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Queens of the Stone Age’s previous album, …Like Clockwork, was one of the best rock albums the year it came out, and arguably the band’s most downbeat and sobering release to date. But things are slated to take a poppy turn with the Mark Ronson-produced Villains, coming out
