video review

  • On their sophomore album, Australia’s the UV Race brings garage rock to a dirtier and grimier level than most. The band’s loose song structures and loose playing bring a lot of, well, “character” to these recordings. There are flubbed notes everywhere, and it’s all for the sake

  • On this new track, Bon Iver has altered the instrumentation his somber tunes soak in, but not much else. Years after For Emma has dropped, the mood as stayed roughly the same–which is a pretty great thing, to me. Sincerity, earnestness, honesty, and passion all come through on this

  • On hit latest release, Amon Tobin isn’t building songs as much as he is sounds. The textures on most of this album are absolutely amazing, and among the best this Brazilian electronica producer has ever created. I love how abstract, adventurous, and mind-bending the first two thirds of this

  • On the band’s latest album, Manchester Orchestra seems to lose of a lot of the passion and rock ‘n’ roll momentum that have made their last two LPs pretty decent. They’ve exchanged this for some relatively heavier production and string arrangements. In my opinion, it wasn’t that

  • On Liturgy’s latest album, the interplay and musicianship that made 2009’s Renihilation so memorable are magnified with tons of syncopation and detail. Another great addition to this band’s style is their use of swells and crescendos, and it’s not in the cliche post-rock way that we’

  • Wild Beast’s Smother shows the band toning things down, and making a sound that comes off eerier than the material on their previous two albums. Though this LP still holds some of the grooves their last albums did, the songs here carry a much more serious tone–maybe too