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Amy Millan: Masters of the Burial
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The record’s disparate strands mostly hold together, a formidable document of their fire and fury—and one that’s needed more than ever
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These songs never reach catharsis or resolution to their grand queries, but nonetheless find moments of joy in the process of seeking answers
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It’s hard to be so stylized yet retain Khruangbin’s kind of staying power. You could kill the reverb and A LA SALA would still prevail
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All in all, Only God is a classic Vampire Weekend record, for those seeking exactly that
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With Don’t Forget Me, Rogers sounds fully confident abandoning the glossiness of her earliest work—she doesn’t need studio flourishes to bolster her transcendent songwriting
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Mount Kimbie are letting their songs smolder into life’s discontent. That uncomfortable tension is The Sunset Violent’s beauty
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Is Dark Matter that different from immediate predecessors Backspacer, Lightning Bolt, and Gigaton? Not really. But is it somehow Pearl Jammier, in an ineffable sense? Yep—in fact, it’s something special
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Nearly a half-century into their run, A Certain Ratio have plenty to teach but remain eager to learn—and, above all, to keep the party going
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Only God Was Above Us feels like a record made by a band once more comfortable in their skins. Print edition only
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It would all be so much showing-off if the narrative ache Koenig displays wasn't so palpable, and the craft wasn't so meticulous. Print edition only
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There are surprises everywhere. While "R&B" and "Nearly Daffodils" are sprightly, irreverent post-punk, the influence of Black Country, Nee Road nd Radiohead are evident on the complex, proggy title track and the diverse, hushed final third of the album. Print edition only
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