Articles by Kyle Lemmon

Deafheaven, “Infinite Granite”

The metal experimentalists work ’90s alt rock and ambient space-rock experimentation into the mix on their fifth LP.

The Flaming Lips, “The Soft Bulletin Companion”

The odd experiments, melodic dead ends, and other outtakes on this compilation are geared toward diehard fans of the monumental 1999 album.

Clairo, “Sling”

Claire Cottrill’s sophomore effort is a strong footfall out of the music industry quicksand and a way to wash the past and online naysayers away.

Kings of Convenience, “Peace or Love”

There’s nothing too shocking on the duo’s first album in a decade, and there are still plenty of cozy vibes.

Sufjan Stevens, “Convocations”

This 49-track space odyssey is a precarious and complicated release, like a a laugh escaping the mouth of someone too tired of weeping.

Teenage Fanclub, “Endless Arcade”

The group’s 11th album is an agreeable, yet predictable, verse-chorus rock album with plenty of pop accoutrements.

The Antlers, “Green to Gold”

The Brooklyn trio’s sixth LP is an elegant metamorphosis for a group that seemed crystallized within its mid-’00s indie-rock styles.

In Conversation: The Hold Steady’s Craig Finn and Franz Nicolay on Rock Music for Endless Days

Finn and Nicolay talk reveling in the six-piece setup, their passion for live residencies, and 8th album “Open Door Policy.”

Clap Your Hands Say Yeah, “New Fragility”

“New Fragility” builds up a better framework for CYHSY as an Alec Ounsworth solo project.

The Weather Station, “Ignorance”

The latest, truly masterful statement from Tamara Lindeman blooms beyond her Americana roots.

The Smashing Pumpkins, “CYR”

Much of the Pumpkins’ overstuffed 11th album is merely a faded approximation of ’90s rock.

Calexico, “Seasonal Shift”

The constant theme on Calexico’s new holiday album is friends and family celebrating the good times.

Future Islands, “As Long As You Are”

The group’s sixth album is a long exhale after the excited breathing and bare-chested songcraft heard on their last three records.

Sufjan Stevens, “The Ascension”

“The Ascension” is an unrelenting release that asks a lot of its listeners, but it gives back plenty as well.

The Killers, “Imploding the Mirage”

The band’s sixth album sounds like a bigger, hi-fidelity bite of the “Sam’s Town” apple.

Soccer Mommy, “Soccer Mommy & Friends Singles Series”

Sophie Allison follows up “color theory” with a compilation featuring Jay Som, SASAMI, and more.

Norah Jones, “Pick Me Up Off the Floor”

The piano is the torch guiding Jones through the darkness on her eighth solo album.

Moses Sumney, “græ”

Sumney brings shards of art rock, R&B, classical, electronic, jazz, and soul into one beautiful piece of musical kintsugi.

Thundercat, “It Is What It Is”

Thundercat continues to alchemize his inimitable style as a honeyed singer, whipsmart producer, and lithe bassist.

You Do It To Yourself: Radiohead’s “The Bends” at 25 Years

A track-by-track ranking of the album that made me realize it was OK to be anxious.

TORRES, “Silver Tongue”

Mackenzie Scott has always been a sharp and economical lyricist with a variety of personas at her disposal.

“Knives Out” Collaborators Rian and Nathan Johnson on Powering a Modern Whodunit

The cousins discuss inverting genre tropes, their first embarrassing movie, and the evergreen influence of “Columbo.”

William Tyler, “Modern Country”

The Nashville guitarist continues his streak as an accomplished folk storyteller with or without words.

Various Artists, “Wayfaring Strangers: Cosmic American Music” (Numero Group)

The Numero Group focuses its lens on the pivotal country music made between 1969 and 1980, when many smaller musicians were directly inspired by Gram Parsons and The Flying Burrito Brothers.

La Sera, “Music for Listening to Music To”

This isn’t Music Appreciation 101.

Wild Nothing, “Life of Pause”

Jack Tatum leans further into the synth-pop landscape than ever before on his third album as Wild Nothing, “Life of Pause.”

Field Music, “Commontime”

On “Commontime,” the brothers Brewis double down on this concept by settling into a few more, well, common time signatures alongside their usual pop-funk trappings.

Shearwater, “Jet Plane and Oxbow”

“Jet Plane and Oxbow”’s fist-raising peaks are sadly rare, but the craft of the production is still worthy of admiration.


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