Embracing a bigger sound than her acutely intimate early work, ‘Little Oblivions’ serves to amplify Julien Baker’s message.
A new side-project headed by Interpol’s Paul Banks, ‘Muzz’ is functional but ultimately nowhere near ambitious enough to transcend its origins.
Despite many flashes of genius, Will Toledo’s latest Car Seat Headrest album ‘Making A Door Less Open’ is fundamentally confused and split in its identity.
A couple of moments aside, ‘A Fine Mess’ EP is a tedious exercise in Interpol-by-numbers.
A collaborative effort between Julien Baker, Phoebe Bridgers and Lucy Dacus, ‘boygenius’ is an imperious display of empathy and brilliant songwriting.
‘Bottle It In’ is the first Kurt Vile record to potentially split its audience, despite its admirable and mostly successful attempts at expanding his sonic boundaries.
After an excellent opening salvo, Interpol’s sixth album ‘Marauder’ suffers from monotony and a critical lack of ideas.
‘Exile In Guyville’, Liz Phair’s witty, detailed, and emotional vision of male-dominated society, makes living in one much easier.
Lindsey Jordan’s first full Snail Mail album ‘Lush’ is an intensely detailed document of life and love while adjusting to adulthood, and fulfills all the breathless predictions made for it.
Matador’s 25th anniversary box set is both a formal acknowledgment of the importance of Liz Phair to American indie history, as well as her early experimental songwriting.
