Articles by Adam Pollock
Domenico Lancellotti, “The Good Is a Big God”
Domenico Lancellotti’s second full-length is a mix of dream pop and world music, which proves an intoxicating combination.
Wye Oak, “The Louder I Call, the Faster It Runs”
The album takes all the musicality the duo has mastered to date and builds on it, with “building” being the operative word.
The Vaccines, “Combat Sports”
Despite its energy, “Combat Sports” is more than occasionally boring.
Moby, “Everything Was Beautiful, And Nothing Hurt”
Moby’s latest is a bummer, man—albeit a great-sounding bummer.
Kyle Craft, “Full Circle Nightmare”
Craft’s influences of decades-old bombast and glam and down-home folk and blues combine to create a musical atmosphere that feels both modern and familiar.
They Might Be Giants, “I Like Fun”
The duo’s twentieth studio album gives a nod to the variety of musical styles that have been part of the Giants’ palate all these years.
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.
The OG trip-hopper returns—with help from some Russian rappers.
Alan Vega, “IT”
Like New York back in the day, Vega’s resilience is inspiring—and still a little scary.
Chain & the Gang, “Best of Crime Rock”
Even the simplest songs can benefit from a bit of production.
Moon Duo, “Occult Architecture Vol. 2”
With “Vol. 1” you banged your head; “Vol. 2” is the dance party.
Willie Nelson, “God’s Problem Child”
It would seem that as a well-heeled, seemingly content octogenarian with a legacy approaching mythical status, Nelson wouldn’t need to keep making records, or that he even could still make one as good as this.
Both Sides of the Wall in Berlin
The German capital is a city of dualities and dichotomies.
Moon Duo, “Occult Architecture Vol. 1”
The dexterity with which Moon Duo present seemingly simple riffs belies the complexity of the songwriting—and the difficulty in getting to their destination.
Telefon Tel Aviv, “Fahrenheit Fair Enough” [reissue]
The reissue of the New Orleans IDM duo’s debut is a refreshing reminder of a more cerebral time.
A Weeping Song: Director Andrew Dominik on His Nick Cave Film “One More Time With Feeling”
“It was important to me that none of them were victims of the film.”
Express Yourself: Lee Fields on Life, Love, and Soul
In his mid-sixties and playing for ever-larger crowds, the New Jersey–based soul singer reflects on how he got here.
Sleigh Bells, “Jessica Rabbit”
They may well deliver a pop masterpiece one day, but “Jessica Rabbit” isn’t it.
Honeyblood, “Babes Never Die”
While the Glasgow duo’s debut was a bit more coy, the followup is unabashed in its devotion to the guitar.
Marching Church, “Telling It Like It Is”
On “Telling It Like It Is,” Elias Bender Rønnenfelt enlists the services of members of like-minded Nordic punks in Lower, Hand of Dust, and others.
Dinosaur Jr., “Give a Glimpse of What Yer Not”
Thirty-three years after its formation, Dinosaur Jr. continues to make sublime, rousing rock and roll.
Wild Beasts, “Boy King”
As Wild Beasts release their fifth long-player, “Boy King,” we find them facing (rock band) middle age and most likely questioning their relevance.
William S. Burroughs, “Let Me Hang You”
Burroughs on the mic, King Khan on the boards.
Bat for Lashes, “The Bride”
Natasha Khan’s new album was created as a kind of soundtrack to a short film she screened this year at Tribeca.
Car Seat Headrest, “Teens of Denial”
Car Seat Headrest’s first wide release of brand-new material showcases most of the weapons in Will Toledo’s arsenal.
White Denim, “Stiff”
“Stiff” makes a grand leap into polished retro-rock territory.
At the pace Philly’s eclectic Santigold releases albums (read: slowly), it’s not hard to welcome each LP as more than just a new release for the artist.
Ty Segall, “Emotional Mugger”
A raucous blast of energy to help combat the winter doldrums.