Recent Posts
-
Spectreview: Lomelda – Hannah
Warmer and more expansive than ever, Hannah succeeds as an evolution of Lomelda’s contemplative musings about communication.
-
Spectreview: Angel Olsen – Whole New Mess
Stripped of the grandiosity of its predecessor, Whole New Mess provides a more focused spotlight for Angel Olsen’s universal truths on love and loss.
-
Spectreview: Jyoti – Mama, You Can Bet!
Jyoti’s excellent Mama, You Can Bet! is equal parts breezy and weighty, and it further solidifies Georgia Anne Muldrow as an underappreciated master of jazz and soul.
-
Spectreview: Redveil – Niagara
On Niagara, young Maryland rapper Redveil matures by leaps and bounds, laying down a skillful collection of songs that radiate self-confidence.
-
Spectreview: No Joy – Motherhood
No Joy’s first record in five years adds a seemingly boundless, boundary-less approach to the project’s fleet-footed shoegaze.
-
Spectreview: Thank You, I’m Sorry – I’m Glad We’re Friends
The redemptive, full-throttle indie-emo rock of Thank You, I’m Sorry’s second LP feels like an ideal version of the Minneapolis act.
-
Spectreview: New Fries – Is The Idea of Us
Toronto experimental band New Fries return after four years with an excellent record that's steeped in no-wave and stuffed with bright ideas.
-
Spectreview: Orville Peck – Show Pony [EP]
On Show Pony, Orville Peck slides ever closer toward country rock while mostly retaining the queer subversiveness of his debut.
-
SINGLES: Antonioni – “Mary Bell”
The first single off of Antonioni's upcoming LP is a brief, brooding track that hits like a freight train.
-
Spectreview: The Microphones – Microphones in 2020
Microphones in 2020 is a seamless, engrossing rumination on self-mythologizing and the contrasting significance of the present moment.