DEACON doesn’t match the memorable, eerie energy of soil, but is still mostly successful as an articulation of serpentwithfeet’s new, breezy era (interlude?) of calm.…
The Moon and Stars is a masterful, singular effort and career apogee for Valerie June. As Miles Davis once said, “Sometimes it takes you a…
Green to Gold represents a mostly successful sonic and lyrical calming of the storm for The Antlers. Seven years after their last album, The Antlers…
Haram reflects an impressive collab between the disparate sonics of Armand Hammer and The Alchemist, even if it’s not a peak for either party. In…
Playground in a Lake is an album of dull noodling and banal soap-boxing, offering little to digest with any measure of seriousness. Clark’s Playground in…
Who by Fire is a reverent, accomplished tribute album that both honors both Cohen and retains First Aid Kit’s particular character. Recorded a few months…
Lost Themes III is a true comfort listen, and the most cohesive collection of Carpenter’s original music to be released. Since The Ward flopped in…
serpentwithfeet There’s a certain irony to the all-caps stylization of serpentwithfeet’s (née Josiah Wise) latest album, DEACON, as it’s a distinctly mellowed, less assuming offering…
Facile, mawkish songwriting, bland production, and an overly-affected show of “authenticity” do major injustice to Justice. Justin Beiber wants to sell you a narrative: that…
sketchy. is a generous, insightful record and a welcome return to the grand balancing act of Tune-Yards’ finest work. The music that Merrill Garbus and…
Promises is a masterwork of collaboration, a suite that both teaches and bestows patience, tranquility, and openness. Promises — a ravishing collaboration between Floating Points,…
Poster Girl once again demonstrates Larsson’s potential, but not nearly as much as it illuminates her lack of depth as a pop performer. Ever since…
Our Country is a remarkable statement of Marks’ rightful place at the fore of modern country music. In the mid-2000s, Miko Marks recorded a couple…
Even ignoring the hilarity of a premise that supposes Tokyo Jetz has enough relevancy to be even be cancelled, Cancel Culture is nothing more than…
Justin Bieber Justin Beiber wants to sell you a narrative: that the once-dumb adolescent from Ontario has grown up, found God (ok, he’s always had…
When William Bevan (a.k.a Burial) was working on the original tracks for the follow-up to his 2006 freshman release, he “took ages on them” (per…
My Savior is not just an impressive work of gospel, but is Carrie Underwood’s best record to date. At no point in her career has…
Visionland does nothing to disabuse all the clowning and dunking on that has been directed at Nahmir — it’s DOA. For about a week now,…
Spaceman is yet another Nick Jonas album that refuses to push beyond familiar, facile sentiment and songwriting. After briefly recentering his identity, again, as “The…
BbyMutha’s surprise EP once again proves that she is a crucial influence in hip hop’s present and (hopefully) future. This past August, BbyMutha released her…