Articles by Kyle Lemmon
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.
In the fall of 2014, Parquet Courts announced a tour with fellow New York band PC Worship under the nondescript stage name PCPC.
Mark Kozelek & Nicolás Pauls, “Dreams of Childhood”
The result is “Dreams of Childhood,” a charity spoken-word album whose proceeds go to La Casa de la Cultura de la Calle (The Street House of Culture).
Deerhunter, “Fading Frontier”
Welcome back, Bradford. Long live, Deerhunter!
Julia Holter, “Have You in My Wilderness”
With “Have You in My Wilderness,” Holter’s musical worlds continue to engross.
Beirut, “No No No”
The group’s previous calling cards—swelling brass or the romantic swoop of an orchestra’s strings—are only seldom heard throughout “No No No.”
Breaking: La Luz
Shana Cleveland, leader of the Seattle surf-rock band, talks about being inspired by the emotional riptides of life.
Deradoorian, “The Expanding Flower Planet”
“The Expanding Flower Planet” is a sun-dappled, cosmic exploration of moods that succeeds, not in spite of, but partially because of its obfuscated nature.