Articles by Sean Fennell

Esther Rose, “How Many Times”

“How Many Times” is pristine—you half expect the record to come with 3 fingers of bourbon and a cool summer breeze.

In Conversation: Tune-Yards Continue to Expand Their Perspective on “sketchy.”

Merrill Garbus on the uncomfortable conversations and creative choices that characterize the band’s fifth album.

Cloud Nothings, “The Shadow I Remember”

The band’s 7th LP is a wily repurposing of former selves while, at the same, whittling away what no longer fits.

Arlo Parks, “Collapsed in Sunbeams”

The London songwriter is able to achieve a collision of cool and gut-wrenching that is all her own. 

Lande Hekt, “Going to Hell”

The Muncie Girls songwriter finds much more fertile ground in the internal on her solo debut.

Shamir, “Shamir”

This self-titled LP is a record of hits, misses, and left-field bangers—but it’s Shamir’s and Shamir’s only. 

Bully, “SUGAREGG”

Alicia Bognanno’s third LP benefits from a newfound willingness to let go.

Fontaines D.C., “A Hero’s Death”

The band pick at every scab they’ve developed during their arduous last twelve months.

Jason Isbell and the 400 Unit, “Reunions”

Isbell’s seventh album works best when it exists in the vagaries, where the lines of fact and fiction mix.

Car Seat Headrest, “Making a Door Less Open”

“MaDLO” is full of holes, but wholly unique. 

Hamilton Leithauser, “The Loves of Your Life”

“Loves” sees a veteran artist sauntering along his creative borders with glee.

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