Album reviews

Album reviews

FIDLAR: ALMOST FREE

January 20th, 2019

This might be the band’s strongest stab at mainstream acceptance and success, but it still feels more like FIDLAR is trying to make the pop world come to them, instead of the other way around.

Album reviews

THE FLESH EATERS: I USED TO BE PRETTY

January 20th, 2019

I Used To Be Pretty is almost a meditative experience—it’s a reconciliation of the spheres, a balancing of the scales, and a release that’s been building up for years.

Album reviews

THE LINDAS: 8X9

January 16th, 2019

8x9 is less than nine-and-a-half minutes long and in that time you get to know the band as well as anybody you might have known for twenty years. There’s no self-deception, no posturing—just a real “fuck you, know me or get the fuck out of here” attitude. Which, really, is the point: you can’t satisfy everybody so what’s the use even trying?

Album reviews

DANNY DODGE: “BLUE AIN’T WHAT I FEEL FOR YOU”

January 16th, 2019

Keith Richards once called rock 'n' roll "music for the neck down" and baby, that includes the heart. Yes, even (punk rock) cowboys get the blues, but it doesn't always sound this sweet.

Album reviews

THE BUTTERTONES: “MADAME SUPREME”

December 21st, 2018

the dashing dirty-as-they-want-to-be Buttertones—like their beloved Walker Brothers—whip their fans into a frenzy, inciting near-riots at their concerts with their unlikely 50s rock 'n' surf ‘n’ Italian library music amalgam. "Madame Supreme", their new single's A-side, is anxiety at velocity, with doomsday imagery of mushroom clouds and a call to "light all the candles and chant" over syncopated off-beat guitar strumming and maniacal saxophone. Their cover of Nite Flight's opening track “Shut Out” runs faster than the original, leans into the whammy bar, replaces the unhinged guitar solo with an unhinged sax solo and scrubs away any lingering disco influences, leaving a polished and reverent—even haunting—ode to their dark overlord Scott.

Album reviews

FLAUNT EDWARDS: THE NAME IS FLAUNT EP

December 20th, 2018

All in all: an impressive, nicely balanced release from one of instrumental hip-hop’s true masters.