Tag: Above The Current
Hovvdy, “True Love”
Their latest LP finds the duo peeling back the layers of their previous work until they arrive at the essential center.
Ada Lea, “one hand on the steering wheel the other sewing a garden”
Lea gives each song its own sonic identity, taking what could become monotony and creating anything but.
Macie Stewart, “Mouth Full of Glass”
The Chicago-based songwriter’s debut collection of songs pair perfectly like ginger and garlic in oil, stewing a culmination of flavors that emerge.
The Ophelias, “Crocus”
Chamber-pop ornamentation and live-band grit weave around spiritual lyricism on the Cincinnati band’s third album.
Low, “HEY WHAT”
The duo’s 13th full-length often sounds less like a collection of songs than a manifestation of the frequency of existence.
Blvck Hippie, “If You Feel Alone at Parties”
Everything Josh Shaw does is immediate, off, and odd—like a welcome meeting of Violent Femmes, Kid Cudi, The Cure, and Tom Verlaine.
Lil Nas X, “Montero”
The debut album from the outsider-rap cowboy is a bold, verbal, and vocal display of what it must mean to be lonely at the top.
Injury Reserve, “By the Time I Get to Phoenix”
The amorphous second album from the rap group focuses on unease-ambient soundscapes that swallow the vocals into the soundtrack.
Kacey Musgraves, “star-crossed”
Kacey’s latest feels like several types of divorce album spliced together, at once messy, conflicted, and purposeful.
Turnstile, “Glow On”
The five-piece swim in the deep end of their existential and musical curiosities on this unforgettable magnum opus.
Space Afrika, “Honest Labour”
Where their previous work cut between ideas at a clip, the Manchester collagists achieve a deeper lucidity here through a steadier approach.
Sparks, “Annette: Cannes Edition”
It’s in its marriage to the film that this soundtrack is best served; cold and bleakly comical with an operatic repetitiveness worthy of Philip Glass.
Wolves in the Throne Room, “Primordial Arcana”
The PNW-based group achieves a rustic and pastoral quality landing somewhere between black metal and something more otherworldly.
Deafheaven, “Infinite Granite”
The metal experimentalists work ’90s alt rock and ambient space-rock experimentation into the mix on their fifth LP.
Erika de Casier, “Sensational”
The sensuousness of de Casier’s whispers and her quiet lyrical self-assurance usher us into a fully evolved world of her own making.
Nicolas Jaar and Dave Harrington crystallize what made their debut so impactful while offering enough new detours to avoid retread status.
Alice Coltrane, “Kirtan: Turiya Sings”
The composer pulls from prayerful moments with voice and Wurlitzer electric organ to awe-inspiring results.
Claire Cottrill’s sophomore effort is a strong footfall out of the music industry quicksand and a way to wash the past and online naysayers away.
Lightning Bug, “A Color of the Sky”
The dream pop group’s third album finds beauty in quiet and noise, the natural and the otherworldly, change and acceptance.
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.
Dean Blunt, “Black Metal 2”
At once earthy and metropolitan, “Black Metal 2” is as enigmatic as the best records in Blunt’s discography.
Various Artists, “Red Hot + Free”
Red Hot beats as it hasn’t in quite some time, pushing its participants further than you may have imagined.
Tyler, the Creator, “Call Me If You Get Lost”
Tyler shows off his progress as a rapper with a power and musicality you knew he had in him, yet feared he’d let slide.
SPELLLING, “The Turning Wheel”
Tia Cabral makes a huge instrumental and narrative leap forward on her lush new album.
Pom Pom Squad, “Death of a Cheerleader”
The band’s sophomore album balances a pop-punk grit with the complication of heartbreak.
There is glee to be found in every crevice of the Bronx rapper’s immersion in house music and bossa nova.
Japanese Breakfast, “Jubilee”
Michelle Zauner’s third album scans as a breakthrough, even though this is a band well past the breakthrough stage.
Loraine James, “Reflection”
The London-based artist plays with percussive beats with a confidence that enables her to weave seemingly unrelated textures into the same pattern.