Tag: Above The Current

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.

slowthai, “TYRON”

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.

Elvis Costello, “Armed Forces: Super Deluxe Edition”

The reissue of Costellos’ maximal-overdrive third LP manages to sound crisper than its original recording.

King Khan, “The Infinite Ones”

Khan’s jazz album is a logical continuation of the merry-making avant-garde that defines every other KK record.

Soul Glo, “Songs to Yeet at the Sun”

At under 12 minutes, the Philly hardcore band all punch hard while documenting what it’s like to be a Black band in a white scene.

The Mountain Goats, “Getting Into Knives”

“Knives” is the sound of a pre-pandemic band going for all the weird gusto they can.

Oneohtrix Point Never, “Magic Oneohtrix Point Never”

Daniel Lopatin assembles a variety of dystopian styles he’s fostered over the years while throwing in some fantastic new ones.

Adrianne Lenker,  “Songs” + “Instrumentals”

The tracks on the Big Thief vocalist’s double album are warm and spacious with high ceilings.

Gorillaz, “Song Machine: Season One – Strange Timez”

The animated four-piece host the wildest, most guest-heavy apocalyptic party since “This Is the End.”

Gabriel Garzón-Montano, “Agüita”

Garzón-Montano has created one of the most thought-provoking and atmospheric R&B albums of 2020.


If there’s a thesis to this comp’s audio nihilism it’s that artists like Soccer Mommy and Full of Hell can peacefully coexist.

John Lennon, “Gimme Some Truth: The Ultimate Mixes”

The “Gimme Some Truth” box makes Lennon’s solo output sound better, brighter, and of a piece.

Róisín Murphy, “Róisín Machine”

The Irish dance icon’s latest record is a plunge into disco hedonism that feels like a remedy to tumultuous times.

Lou Reed, “New York: Deluxe Edition” + Lou Reed & John Cale, “Songs for Drella”

“New York” gets the deluxe box set treatment this week, while “Drella” gets a Record Store Day release three weeks later, a first on vinyl.

Bartees Strange, “Live Forever”

The debut LP sounds more influenced by “Is Rock Dead?” think pieces than it does any of the diverse genres tapped.

Sufjan Stevens, “The Ascension”

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

Art Blakey & the Jazz Messengers, “Just Coolin’” + Thelonious Monk, “Palo Alto”

Neither of these jazz recordings is any less mysterious or magical just because they’re finally available at large.


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