The Kentucky three-piece have once again delivered an album that is worth all the time their audience is willing to give to it. Wombo’s latest demands full attention and will take you to foreign spaces that will open up a thrilling dream world.
Horse girls, poetry bros, and introspective circumlocutory overthinkers rejoice: Billie Marten’s fifth studio album Dog Eared is for looking out of car windows, yearning quietly, and laying on the floor as you ponder the slow passage of time.
Boston slowcore project Clifford infuses an array of influences with bone-dry distortion. The range of their languidity makes for a compelling take on somewhat familiar indie territories without any gaps in Golden Caravan’s tracklisting.
Oldstar’s latest project is a focused, heartfelt country rock record and a studied approach to refashioning country music. Of the Highway, for all its attempts at getting out, knows where it came from.
Los Angeles-based punxsutawney speak about their music as well as they play it. With little effect on the dueling guitars besides reverb and overdrive, Untitled avoids the stylistic trappings of post-rock projects that came before them, carving their own path in the genre.
On 410,757,864,530 Dead Carps, Supreme Joy’s uncertainty around the commodification of art and the hypnosis of capitalism’s spectacle is expressed through a form to the “Born to die/ World is a fuck” meme. It’s an artistic expression of dissatisfaction through the absurd yet delicately profound.
Ex Agent are a remarkable group because their influences remain influences. New Assumptions exists somewhere between the slow drones of Louisville post-rock, the free-form jazz noise of no-wave, and the impeccable art punk of late-70s England.
billy woods’ GOLLIWOG is an enraged and exhausted, atmospheric masterpiece that fearlessly plunges into discomfort and abuse; skin-toned, gender-based, domestic, federal, colonial, and personal.
Pygmy Lush’s TOTEM is an unlikely feat in all regards. Rising from the ashes of cult favorite screamo band Pageninetynine, TOTEM evinces a thorough re-ignition of the hard-hitting styles which first put these musicians on the map.
Absence has long defined Alan Sparhawk’s output. On With Trampled By Turtles, there’s something new and beautiful to be found in the space an absence leaves if you are willing to confront it.
Debbie Dopamine have a wonderful knack for presenting honest and uncompromising songs that delve deep into poignant and complex thoughts and beliefs, examining them in a compassionately human manner that is a delight to behold.
The NYC-based, Sub Pop-signed group composed of the four-piece of Greta Kline, Alex Bailey, Katie Von Schleicher, and Hugo Stanley hit familiar strides with witty lyrics and wistful reflections on what it feels like to live and love.
Macie Stewart’s When the Distance is Blue is a perfectly titled, surreal and expansive record. Her International Anthem debut is not a question or an answer ,but a murmuring thought, both perplexing and comforting.
Timeless World Forever by Graham Hunt draws on the timeline of alternative pop music composition, as his songs create a timeless sensation, reincarnating threads of energetic sounds from today's music, the 2010s, the 2000s, and the 1990s.
PANIK FLOWER, on their sophomore effort Rearview, are unafraid to shift and change their approach, while still maintaining a compelling strength and drive that is in full bloom.
Mess Esque’s Jay Marie, Comfort Me is a slow-burn album that rewards repeat listens. It doesn’t hurt to play it loud, which accentuates the quiet moments and lets the cacophonous ones crash over you.
To deem Hymnal as a “special album you don’t often come across” may be a tired platitude, but it’s necessary for a work this complex and technical. The grandiosity of American composer Lyra Pramuk’s latest record is owed to its variegated synthesis of classical, folk, and techno sensibilities.
In 1977, the Voyager space probe was sent into outer space with a golden record compilation of speeches, sounds, songs, and other culturally significant recordings. The music of Monde UFO could easily be the mystic interstellar answer to that record from another galaxy or dimension.
Subsonic Eye’s fifth album is here. Singapore Dream is a notable contrast from the band’s previous work; quicker paced with an even stronger thread of identity. The Singaporean project’s latest record explores and champions both the self and the sound.
Mei Semones’ debut full length Animaru is singular, accessible, inviting, and likeable. Brett Williams reviews the record and her gig at Ace of Cups in Columbus, OH.
