Articles by Mischa Pearlman
In Conversation: Joan Cornellà Is a Reasonable Person
The Spanish artist known for his deranged—but brightly colored!—comics talks police brutality, Facebook, and traveling in the US.
In Conversation: Algiers Expose “The Underside of Power”
Class warfare, civil rights, Donald Trump: That’s not the whole story.
Can, “The Singles”
An exhilarating journey into one of contemporary music’s most inventive and eccentric bands.
Rancid, “Trouble Maker”
While “Trouble Maker” is far from a political record, its songs certainly exist within the fragile framework of America in 2017.
Big Thief, “Capacity”
Comprising eleven downtrodden, sunken-hearted, minor-chord songs, Big Thief’s sophomore album traverses the dark side of humanity, but pairs the despair with a ragged beauty.
Craig Finn, “We All Want the Same Things”
A more than welcome addition to—and expansion of—the Hold Steady frontman’s catalog.
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.