The longer music develops, the more obsolete genre labels become, and Django Django’s newest release solidifies that fact. With a weird mesh of post-punk, psychedelia, and folk-rock—plus a few other detours—the group’s “sound” has transcended past singular words and phrases…
“OK Human” review: Weezer continues a streak of mediocrity on latest album
It’s honestly comical how unsubtle Weezer has become when thinking about their conceptual and stylistic reference points. Their career over the past three years has consisted of a surprisingly great Toto cover, an ode to Jay-Z scripture, an entire album…
‘Medicine at Midnight’ review: Foo Fighters’ failures continue but at least they’re not dull
For as legendary as the Foo Fighters are, outside of a few singled-out LPs, the group’s album-based consistency has been a disappointing affair—especially since 2011’s solid Wasting Light. Both Sonic Highways (2014) and Concrete and Gold (2017) are muddled-down attempts…
Album Review: Old 97’s – “Twelfth”
“I believe in love, but it don’t believe in me.” I’ve loved the Old 97’s ever since those deceptively simple words, easy to understand yet packed with meaning, and the crazy catchy hook beneath them, etched their way into my…
Album Review: Jason Isbell & the 400 Unit – “Reunions”
We’re lucky to have a songwriter as warm and talented as Jason Isbell to share with us his journey, a not uncommon one, of troubled young drifter and alcoholic to (relatively) contented family man, as anyone who’s followed the progress…
Album Review: Waxahatchee’s “Saint Cloud” is a folk-rock triumph
How fitting that Katie Crutchfield would release her best album in the midst of an unprecedented (in our lifetimes at least) global storm, given that her last album was called, well, Out in the Storm. Of course, Crutchfield conceived and recorded Saint…