Articles by Mischa Pearlman
Alexis Marshall, “House of Lull . House of When”
The Daughters vocalist’s solo debut captures the collapse of society over the course of a tormented, uneven 9 tracks.
Karen Black, “Dreaming of You (1971-1976)”
The posthumous debut from the New Hollywood actress is an album of ghosts and haunted hearts.
A Place to Bury Strangers, “Hologram”
There’s still darkness present on the noise rock band’s latest EP, but it’s more of a shadow than an abyss.
Brett Newski Shares a Glimpse Into His New Book of Sketches “It’s Hard to Be a Person”
The songwriter’s new collection of drawings is a practical, humorous, and irreverent guide to overcoming his (and, by extension, our) anxieties and depression.
Various Artists, “Dark Nights: Death Metal Soundtrack”
While often an uneven mess of sound, there are some real gems to be found on this DC Comics compilation.
Jim Ward, “Daggers”
The debut LP from the At the Drive-In co-founder tussles with indie-pop and boisterous stadium rock.
The Bruce Lee Band, “Division in the Heartland”
The ska-punk collective finds itself as boisterous, relevant, and energetic as ever before on their new EP.
Lord Huron’s Ben Schneider Walks Us Through His Artwork for “Long Lost”
The songwriter/visual artist discusses 11 pieces that tie into the fictional Whispering Pines universe.
Juliana Hatfield, “Blood”
Hatfield’s 17th collection of original solo material is a fever dream entirely of the indie legend’s own creation.
Weezer, “Van Weezer”
While this homage to hard rock isn’t a return to the great heights the band has scaled in the past, it’s also far removed from the valleys they’ve trudged through.
Big Mother Gig, “Gusto”
There’s a loose recklessness to these classic alt-rock melodies that convey being stuck in a rut—but also the determination to get out of it.
The French prog metal collective’s seventh album is a tornado of blastbeats, guttural growls, and devilish incantations.
Susan Embraces the Patheticness of Love on New Single “Hold Still”
In a Q&A, the London-based artist shared their thoughts on the classical new single, transness, and the duality of identity.
Skullcrusher, “Storm in Summer”
Helen Ballentine’s sophomore EP is just as resplendent and poignant as that first release.
Flock of Dimes, “Head of Roses”
On the outfit’s second LP, Jenn Wasner refrains from giving in entirely to obvious melodies and instrumentation.
Feeling Spaced: 25 Years of Modest Mouse’s “This Is a Long Drive for Someone with Nothing to Think About”
A quarter of a decade on, the band’s debut remains a worthy companion for both aimless road trips and personal crossroads.
This self-titled debut draws on the members’ vast pool of experience, as well as the chemistry of their intertwined personal lives.
The Clean, “Mister Pop” [vinyl reissue]
This 2009 LP is a reinforcement of The Clean’s rightful place in the pantheon of quirky alternative rock.
In Conversation: Ben Howard on the Unlikely Tales of “Collections From the Whiteout”
The songwriter discusses his new Aaron Dessner–produced LP and the unreal times that inspired it.
Chad VanGaalen, “World’s Most Stressed Out Gardener”
VanGaalen’s seventh proper studio album is pure nourishment for the soul—the sound of nature taking over again.
Future Teens, “Deliberately Alive”
The bummer-pop quartet’s latest is an EP of feelings, memories, regrets and hope of actively seeking the elixir for life’s hardships.
In Conversation: Frank Watkinson on Cheering Viewers Up with Sad Songs
The viral YouTube covers artist humbly discusses his unexpected rise to online stardom.
Mogwai, “As the Love Continues”
While the amusement value of the track list is high, the music lags behind at times.
God Is an Astronaut, “Ghost Tapes #10”
This is the sound of a band burrowing deep into the heart of its genre, ripping it apart and reviving.
The Drives’ “The Comedown” Offers a Little Optimism Even as It Acknowledges the Hurt
The LA rockers kick off 2021 with an upbeat—though emotionally complex—single.
Speed Stick, “Volume One”
The debut from the avant-garde supergroup demonstrates the power of collaboration, but struggles with cohesion and emotional drive.
The Dirty Nil, “Fuck Art”
The Canadian punks’ pugnacious third LP is also their most tender and nuanced release yet.
Emma Ruth Rundle & Thou, “The Helm of Sorrow”
The doomy pair share more mournful explosions of existential tragedy and aggressive solemnity that transcend genre.