Featuring an eclectic mix of various Indigenous folk, rock and country artists, Native North America, Vol 1. is a trip back in time to some of the most important aboriginal artists from 1966 – 1985.
Montreal art-rockers Ought have had a whirlwind few years. Finding success with 2014’s More than Any Other Day (still one of the best albums to come out of the recent post-punk revival) and a mid-quality solo record from vocalist Tim Darcy, it’s sad to announce their latest doesn’t quite live up to the hype.
The thought of having Kendrick Lamar at the helm of making an album of music from and inspired by the new Black Panther movie was exciting.
Cinematic in progression, U.S. Girls’ latest record, In a Poem Unlimited, finds its niche in diving into surrealism while avoiding a fringe classification.
As the world of music shifts even deeper into that of over-production, it says something that Neutral Milk Hotel’s In The Aeroplane Over the Sea is still held in reverence.
Ranging from grandiose horn led choruses to Sabbath-esque arrangements, Ty Segall’s latest album Freedom’s Goblin finds itself diving into unexpected corners of genre and style.
Justin Timberlake has a problem. He is a mediocre white man and his mediocrity has finally arrived in the public consciousness through his decision to galavant into the forest in his new album, Man of the Woods.
Packed with lingering reverb and steady drum strikes, noise rock duo No Age’s latest record, Snares Like a Haircut, combines rawness with bright tones to fantastic effect.
The world would be satisfied if CupcakKe only released bops like “Duck Duck Goose,” a song (and music video) that took the world by storm.
Perhaps the most niche genre still commanding a place at the table, latter-era emo (see: emo revival) is not only alive but thriving thanks to groups like awakebutstillinbed.
