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 o…
‘For the first time’ review: Black Country, New Road’s debut full-length is thrilling, experimental
“Hype kills art.” It’s a statement that has become increasingly apparent in the age of online entertainment discourse. In the music world, even more so. An artist receives a slew of …
“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 g…
“Nobody is Listening” review: ZAYN disappoints with uneven return
Zayn strives for a late-night bedroom R&B experience on his latest album Nobody is Listening. Each song is a slow jam meant to inspire lovemaking, but the result is monotone and repetitive. While …
‘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.…
‘Nightmare Vacation’ review: Rico Nasty shows off all she knows on her LP debut
After a six-year musical career with zero full-length LP’s, Rico Nasty encapsulates the breadth of her experiences on her debut, Nightmare Vacation (2020), while reminding everyone of the patent…
‘K.G.’ review: King Gizzard get creative with microtones
Throughout their now-tenured career, King Gizzard and the Lizard Wizard have averaged just about two studio album releases each year. But their dedication to music creation isn’t just in the for…