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June 2, 2017A cheerful, bright salute to Jeff Lynne pop and '70s songcraft.
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June 2, 2017A politically charged album that harkens back to prime mid-'70s Pink Floyd.
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June 2, 2017A heady and sometimes capricious piece of work that vacillates between pastoral folk, classical crossover, proto-punk, and progressive rock.
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June 2, 2017Brimming with the confidence of a seasoned vet, this excellent pop debut strikes a deft balance between attitude and vulnerability.
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June 2, 2017U2's crowning moment and the definitive sound of late '80s mainstream rock.
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June 2, 2017A musically expansive and politically charged second effort from neo-bluesman Benjamin Booker.
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June 2, 2017The former Dirty Projectors member goes solo with a beguiling post-breakup set full of sunny self-motivation and lush melancholia.
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June 2, 2017Produced by Shawn Lee, the band's ninth album is a comforting nostalgia trip that sums up their career in lovely fashion.
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June 2, 2017Beach Fossils' third album adds more collaboration and expanded instrumentation, both of which give their sound an impressive makeover.
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June 2, 2017Adding more keyboards to his off-kilter guitar pop makes the Welsh singer/songwriter's fourth album his most accomplished and expressive to date.
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June 2, 2017Marika Hackman's shift to a grungier sound on I'm Not Your Man is also a triumph of wit and heart.
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June 2, 2017The Montreal indie electronic outfit returns the heavy-hearted sophisti-pop sound established on 2014's Picture You Staring.
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June 2, 2017The Dickinsons dig deep into their roots on a set of originals and covers of blues, gospel, and folk with reckless abandon, and select friends.
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June 2, 2017The New England roots rock power trio take a West Coast trip on their strong sixth LP.
May 21, 2007
Ten years after its release, this collaboration between Mouse on Mars and the Fall's Mark E. Smith remains as gleefully disconnected from indie and dance expectations -- and true to the artists' spirits -- as it was then. Even when they borrow from LCD Soundsystem ("Fledermaus Can't Get Enough") or glam and disco ("The Rhinohead"), the men of Von Südenfed can't help but be themselves, and the ways their fractured beats, melodies and words come together and fall apart are exhilarating.
September 30, 1996
Wolfgang Voigt's only full-length as Love Inc. was significantly more mellow than his prior work as Mike Ink (among many other names), and helped point towards the hazy, pastoral ambient bliss of his most celebrated venture, Gas. This release contains several perky techno tracks as well as two takes on T. Rex's "Hot Love," but the album's most beloved cut remains its sublime title track, a 15-minute spiral of rippling, overlapping samples of Roxy Music and (again) T. Rex.
