Tag: Above The Current
Tony Allen, “There Is No End”
This posthumous LP is less a grand finale summing up a career than it is another piece of a greater puzzle.
Pink Floyd, “Live at Knebworth 1990”
Like the band itself, the selected arrangements are rich, bold, and magically transportive.
Alan Vega, “Mutator”
The posthumous release from the late Suicide singer is a time capsule of the industrial sounds of ’90s NYC.
Godspeed You! Black Emperor, “G_d’s Pee AT STATE’S END!”
The ensemble’s 7th album is resistance music built off the back of the most difficult year in the modern era.
Dry Cleaning, “New Long Leg”
Florence Shaw’s biting delivery steals the show and elevates the album to great heights.
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.
Floating Points, Pharoah Sanders, and London Symphony Orchestra, “Promises”
Pharoah Sanders and Floating Points have created a vintage vibe noir masterpiece for the 21st century.
Lost Girls, “Menneskekollektivet”
The debut record from Jenny Hval and Håvard Volden feels both familiar and new, sounding classical yet edgy.
Neil Young, “Young Shakespeare”
The unofficial sister record to “Live at Massey Hall 1971” is a brilliant summation of the era’s folk movement.
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.
DJ Muggs the Black Goat, “Dies Occidendum”
The album functions as a sample pack for aspiring producers, introducing a number of styles that Muggs handles with ease.
Bob Dylan, “1970”
This mini-box features fluidly funky outtakes from often-neglected album sessions, together with a mystery recording with George Harrison.
Nick Cave & Warren Ellis, “Carnage”
The pair’s latest is a theatrical, diabolically abstract, and damningly depressive work with a blinding brightness at the end of the tunnel.
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.
The Fall, “Live at St. Helens Technical College ’81”
Mark E. Smith and his band stretch these songs to their limits, like The Velvet Underground before them.
Adrian Younge, “The American Negro”
Younge’s bold new music/spoken word LP is his most stirring, politicized, and down-to-earth release to date.
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 UK rapper’s origin-story prequel experiments with earnest beauty while still feeling like a prank.
The Weather Station, “Ignorance”
The latest, truly masterful statement from Tamara Lindeman blooms beyond her Americana roots.
Arlo Parks, “Collapsed in Sunbeams”
The London songwriter is able to achieve a collision of cool and gut-wrenching that is all her own.
Martin Gore, “The Third Chimpanzee”
This rare solo release from the Depeche Mode songwriter is memorably haunting.
The Besnard Lakes, “…Are the Last of the Great Thunderstorm Warnings”
The return of the Canadian ensemble provides us with a late-Malick meditation on mortality.
Richard Hell and the Voidoids, “Destiny Street Complete”
These demos and fuller, remixed recordings show off more of the Albert-Ayler-meets-Iggy-Pop thing that Hell and his band probably intended.
Iggy and The Stooges, “You Think You’re Bad, Man: Road Tapes ’73-’74” + “From K.O. to Chaos”
Iggy Pop’s last gasp with the original Stooges is hyper-energized and essential listening alongside the official canon.
The Dirty Nil, “Fuck Art”
The Canadian punks’ pugnacious third LP is also their most tender and nuanced release yet.
Beach Bunny, “Blame Game” EP
The EP’s subject matter is thornier than past efforts’, leading to songwriting that pulls fewer punches.
Nick Cave, “Idiot Prayer: Nick Cave Alone at Alexandra Palace”
This recording of Cave’s tearful solo performance offers warmth, elegance, and smart solace.
Told Slant, “Point the Flashlight and Walk”
Felix Walworth’s third LP documents some of the most massive and complex sounds they’ve ever dreamed up.