Articles by Mischa Pearlman
Sleaford Mods, “English Tapas”
Everything Sleaford Mods say in these twelve songs is thoroughly valid and, frankly, needs to be said.
Grandaddy, “Last Place”
It’s not the second coming of “The Sophtware Slump.” But it also isn’t trying to be.
All My Life: Vic Chesnutt at the Limit
Singing the praises of the undersung singer-songwriter.
Tim Darcy, “Saturday Night”
On his solo debut, the Ought frontman embarks on his own personal exploration of sounds and genres, ideas and influences.
Molly Burch, “Please Be Mine”
The LA native’s debut is an escape route from Trump’s America into an alternative and rose-tinted reality.
The Menzingers, “After the Party”
The four members of The Menzingers have all hit their thirties. “After the Party” confronts that reality and all the realizations that come along with it.
The Dark Night: Jóhann Jóhannsson on “Orphée”
The Arrival composer gives voice to an unlikely subject: himself.
R.E.M., “Out of Time” (25th Anniversary Edition)
Beyond the big hits, R.E.M.’s seventh album is a record full of nuances, a record that matched the quantity of units sold with the quality of its songwriting.
Weyes Blood, “Front Row Seat to Earth”
Natalie Mering’s newest release straddles the world we inhabit and the marvels we imagine beyond it.
Hiss Golden Messenger, “Heart Like a Levee”
Darkness and light battle it out in M.C. Taylor’s latest.
Beach Slang, “A Loud Bash of Teenage Feelings”
On the whole, Beach Slang’s sheer joy at just being alive should bring a smile to the most cynical minds and the most jaded of hearts.
Clipping, “Splendor & Misery”
The minimalistic, ice-cold production of Splendor & Misery feels like it’s been pulled back into the present from the future.
Slow Club, “One Day All of This Won’t Matter Any More”
The British duo venture across the Atlantic to work with Matthew E. White at his Spacebomb Studios.
“Joshy”: The Boys Get Out of Town
Thomas Middleditch and half of your favorite comic actors come together for a non-bachelor party.
Deerhoof, “The Magic”
For over two decades, Deerhoof has shown how far a little weirdness can go.
Cornelius, “Fantasma” [reissue]
Nearly two decades after its initial release, “Fantasma” remains just as far ahead of its time and as equally unclassifiable.
LIVE: Anohni at the End of the World (5/19/2016)
“HOPELESSNESS” comes to the Red Bull Music Academy Festival
Tribeca Film Festival 2016: The Virtual Arcade
Sure, Tribeca’s short films were mind expanding and its stack of features were narratively ambitious. But its virtual reality component managed to do both.