Great art doesn’t necessarily come from great pain, but it is tough to deny that some of the greatest creative outputs does come from the complexities of greatest sufferings.
‘Screen Violence’ Review: CHVRCHES deliver a poignant light at the end of the tunnel
‘Screen Violence’ explores a much more vulnerable side of CHVRCHES that pushes their synth-pop sound without foregoing their own signature.
‘Lately I Feel Everything’ review: WILLOW’s fourth solo album plays to overdone pop-punk sounds
Despite some intriguing genre-meshing, Willow’s ‘Lately I Feel Everything’ fails to establish its punk aesthetics or memorably pop hits.
‘Pressure Machine’ review: New album is the Killers at their best
‘Pressure Machine’ features the tightest writing of any Killers record, the strongest narrative connective tissue, and Flowers at his most vulnerable, and therefore, at his most impactful.
‘9th & Walnut’ review: Descendents’ feel-good punk is void of nuance, but still fun
‘9th & Walnut’ is everything we expect from the Descendents: quick, short, and to the point. And though it’s void of any nuance, it’s still fun.
‘Sling’ review: Clairo digs deep
Simultaneously opulent and warm, and featuring production from Jack Antonoff, ‘Sling’ is a placid walk around the lake with a more mature, epiphanic Clairo.
‘Hideaway’ review: Wavves bring back their classic surf punk… for three songs
During the indie explosion of the early 2010s, Wavves’ pop-punky King of the Beach granted the band some growing attention. After their harsh—and frankly, hard to get through—debut records, Wavves and Wavvves, the group’s psychedelic and surf-infused pop anthems cleansed…