Album Reviews
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ALBUM REVIEW: Tash Sultana justifies early success with ‘Flow State’
Psychedelic-reggae-rock fusion phenomenon Tash Sultana has garnered a devoted following over the last several years. Thanks to singles like “Jungle” and “Notion,” the Melbourne singer and multi-instrumentalist has grown their fanbase from a dedicated cult following and attracted a more global, mainstream appeal. They (Sultana uses their/them pronouns) gained…
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ALBUM REVIEW: Thou reaches within on the magnificent ‘Magus’
Doom metal quintet Thou has remained exceptionally industrious over the past 13 years, releasing more than 30 EPs, splits and collaborations between four full-lengths. The Baton Rouge anarchists incorporate Seattle grunge melody and a DIY punk ethos into traditional Louisiana sludge, steadily elaborating on its sardonic postmodern worldview. This…
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ALBUM REVIEW: Wild Nothing cranks up the volume on Indigo
Propelled by the critical success of his sophomore album, Nocturne, Jack Tatum has become one of the biggest names in dream pop under the moniker Wild Nothing. Tatum has separated himself from the pack with his impressive songwriting chops. A lo-fi treasure, Nocturne saw Tatum glide over an assortment…
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ALBUM REVIEW: King Dude dissects conflict with Music To Make War To
TJ Cowgill has become one of Seattle’s most respected occult rockers under the moniker of King Dude. Yes, you read that right. His devotion to Luciferian satanism gives his work an authentically obscure aura. He uses it to explore the primeval precepts of existence. Continuing where 2011’s Love and…
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ALBUM REVIEW: Dev Hynes flairs his feathers on Blood Orange’s Negro Swan
In early European folklore, black swans were mythical creatures—until a Dutch explorer saw one in 1697. While white swans signified purity and truth, the very existence of the black swan came to represent impurity. It became equated with witchcraft and evil. While the symbolic essence of the elusive bird…
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ALBUM REVIEW: Interpol sinks beneath unnecessary noise with ‘Marauder’
Interpol, “Marauder.” It’s impossible to talk about 21st-century rock music without mentioning New York’s Interpol and its 2002 debut, Turn On the Bright Lights. Often considered the gold standard for the post-punk rival, Interpol’s first record helped salvage alt-rock from the depths of post-grunge. It did this by harkening back…
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Album Review: Conner Youngblood champions electro-folk with Cheyenne
Boasting one of the freshest sounds in modern music, Dallas’ Conner Youngblood earns his place as a rising star. Blending folk, R&B and electronica seamlessly, his unique talent was immediately apparent on his 2013 EP Make Me Faster. Riding the success of that record’s hit track, “The Warpath,” along…
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ALBUM REVIEW: Blue October’s I Hope You’re Happy is flawed yet endearing
Since breaking into the mainstream with radio hits “Hate Me” and “Into the Ocean” in 2006, prolonged success has evaded Blue October. Following its rise to fame, the band fell into mediocrity during frontman Justin Furstenfeld’s struggles with addiction. Now six years sober, he and the band have switched…
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REVIEW: Great Lake Swimmers ride The Waves, The Wake into new territory
Few Canadian folk rockers have a level of credibility comparable to Toronto’s Great Lake Swimmers. Largely the brainchild of lead vocalist and multi-instrumentalist Tony Dekker, the band has spent the past 15 years earning international accolades within indie folk, alt-country and heartland rock circles. Dekker’s acoustic guitar has remained…
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ALBUM REVIEW: Oh Sees release Smote Reverser from newly orbiting space station
If you were to strap rockets to a garage and blast it into space, the resulting satellite would be the perfect studio in which to record the latest album by the Oh Sees, Smote Reverser. The prolific San Francisco band helmed by guitarist Jon Dwyer strikes again with its fifth album…