Tag: Above The Current
Beck is fully embracing his talent for making the kind of music you want to dance to. What’s so bad about that?
Kelela, “Take Me Apart”
“Take Me Apart”‘s tension between sleek, modern sound and beating-heart humanity reveals what’s always been great about R&B: that it wears its emotions on its sleeve and provides a conduit for deep feeling.
Courtney Barnett and Kurt Vile, “Lotta Sea Lice”
The songs of Barnett and Vile are deliberately gnarled and unkempt, and never sound nearly as fussed-over as they probably are.
Wolf Parade, “Cry Cry Cry”
The Montreal quartet are back with a truly triumphant return.
Marilyn Manson, “Heaven Upside Down”
While Manson’s style of hard rock has been both imitated by other acts and eclipsed by other genres since the artist’s heyday in the late ’90s, the prospect of a new MM release is still cause for anticipation.
Amadou & Mariam, “La Confusion”
The latest from the iconic Malian duo has surprises at every turn.
Laraaji, “Bring on the Sun” and “Sun Gong”
The master of New Age’s two new records are prime examples of the kind of celestial trance music he has been making since the 1970s.
Torres, “Three Futures”
Sometimes the best things are the ones that remain the same.
Protomartyr, “Relatives in Descent”
Detroit’s most amiable punks explores their sound and considerably extend its boundaries.
Ariel Pink, “Dedicated to Bobby Jameson”
Once again, the man born Ariel Rosenberg manages to trudge through his own pink slime just in time to catch a glimpse of the gray sunset.
Benjamin Clementine, “I Tell a Fly”
On his second album, the Mercury Prize winner is a big star and a total alien on a pilgrimage through hostile lands.
Kamasi Washington, “Harmony of Difference” [EP]
From a quiet, smooth opening, Kamasi Washington’s new EP grows to enormous heights.
Hercules and Love Affair, “Omnion”
Andy Butler has become the multi-faceted songwriter and profound expressionist he always meant to be.
Ben Frost, “The Centre Cannot Hold”
Frost’s music can be grating, obstructive, evil, sinister, and ugly. Yet there’s something both charming and beautiful in how he embraces these characteristics.
The Clientele, “Music for the Age of Miracles”
The bards of British folk-rock return with their first album in seven years—and an expanded sonic palette.
Alex Cameron, “Forced Witness”
The characters on “Forced Witness,” Alex Cameron’s second record, make the sociopaths from his debut look like amateurs.
Mount Kimbie, “Love What Survives”
Maker and Campos find a way to bring their collaborators toward their sound, not the other way around, and the results are outstanding.
Ted Leo, “The Hanged Man”
After seven years away, let’s hope this album of heart-wrenching soul music keeps Ted Leo up on the stage where he belongs.