vlog
-
OK, so it’s widely acknowledged that a lot of people don’t care about Death Cab for cutie anymore. I guess I used to be one of them, too. But because of all the requests and my own curiosity, I figured I’d try out Codes and Keys since
-
My Morning Jacket’s latest album was a two-part surprise for me. First, I was happy to hear how alive and ambitious the first half of this album was. Not only are the hooks and instrumentation strong, but the band seems equally comfortable saying something beautiful or funny with their
-
On Coma Cinema’s third album lo-fi production backs up some real-life sadness on about 15 songs. It’s a little spotty, but nothing really sticks around long enough to disappoint. Some songs here really did hit me as memorable on my first listen, though. If you’re down with
-
On Elmatic, Detroit’s Elzhi rewrite’s Nas’ seminal Illmatic to fit his personal story. Thanks to his flow, lyricism, and some production help from the Will Sessions band, the project goes off without a hitch. I’m sure it’ll be debated whether or not this album is better
-
On “the Rose With the Broken Neck,” Danger Mouse & Daniele Luppi pull together some Italian-style soundtrack music with Jack White on vocals. Though the textures and sounds are vintage and pretty authentic, the drama of this track–the drama I imagine should be here–doesn’t really hit me.
-
I’m just not enjoying this like I have Jesu’s past work. I’m sad. WATCH THE REVIEW
-
If my son had made this album, I’d say this: “This is a strong debut, son. Strong debut.” WATCH THE REVIEW
-
This Will Destroy You’s latest LP starts and finishes with flying colors, but it gets a little underwhelming in the middle for me. Hearing the band revisit old sounds, work with an odd drum mix, and working with similar structures throughout this album make me rethink my original love
-
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
