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…
‘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…
‘evermore’ review: Taylor Swift expands her emblematic songwriting
To me, Taylor Swift hasn’t improved as a songwriter. She’s merely evolved. Her pivot to folk and piano-laden ballads doesn’t signal some attempt at “high-brow art.” The r…
Album Review: Kid Cudi Returns on “Man on the Moon III: The Chosen”
Kid Cudi exploded onto the scene in 2009 with Man on the Moon: The End of Day. Since then, he has become the patron saint of the sensitive ragers. Having enticed an audience of reflective stoners, Kid…
Album Review: The Avalanches explore space, time, and music on “We Will Always Love You”
The first twenty years of the Avalanches’ careers were filled with a measly two records; yet, those two records managed to hit some of the highest heights ever seen in music, period. Their debut album…
Album Review: Osees bring a raw, heavy edge to “Protean Threat”
In a genre like garage rock, that often relies on simplicity, tradition, and back-to-basics thinking, a band with the consistency and creativity of Osees is a rarity. In just twenty-three years, the g…
Album Review: H. Jon Benjamin delivers quirky interpretations of movie favorites on “The Soundtrack Collection”
Comedian H. Jon Benjamin’s latest experimental album—this time under the official name “Jon Benjamin – Jazz Daredevil” —is only marginally more legitimate than his first. 2015’s Well I Should Hav…