A shroud of mystery coats the ethereal minimalist music of serpentwithfeet. As that stage name suggests, the Brooklyn-based singer-songwriter (born Jo…
‘Green to Gold’ review: The Antlers return with luscious, dreamy, introspective folk-pop
It’s always funny to me how easy it is to draw parallels between two completely unrelated things or events. In the case of the Antlers and their…
‘Flowers for Vases / Descansos’ review: Hayley Williams rides on the coattails of female indie stars
Over the past fifteen-or-so years, Hayley Williams has expressed an ability to push forward, be creative, and forge her own identity among the other m…
‘Collapsed in Sunbeams’ review: Arlo Parks exudes kindness and warmth on rich, dazzling debut
In case you weren’t aware. we’re living in stressful times, and a lot of people are justifiably upset about it. The planet’s been swept by a pandemic,…
‘You’re Welcome’ album review: A Day to Remember perpetuate pop-punk’s mediocre status quo
Let’s be honest… the fate of the pop-punk community that once thrived twenty years ago doesn’t seem bright. The last few releases fr…
‘As the Love Continues’ review: Mogwai’s vast experience is put to poor use
Like many other post-rock groups in 2021, Mogwai are in a weird place. The first leg of their illustrious career was full of brand new territory—helpi…
‘So Far No Further’ review: Sweet Soul struggle to find a voice on debut LP
To promote their debut full-length So Far No Further, Sweet Soul created a playlist that currently resides on the SoCal quintet’s Spotify profile. It’…