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February 17, 2017The Detroit rapper's fourth full-length is a significant evolution in terms of depth, maturity, and self-awareness.
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March 10, 2017Eighth LP from the Canadian producer finds the mouse-masked Joel Zimmerman relying on deep grooves that favor a focused, extended listen.
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February 3, 2017A contemplative and hopeful album from Elbow.
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February 3, 2017Stirring first album from a singular do-it-all who has worked with Drake, Beyoncé, Kanye, and Solange.
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February 3, 2017The band responds to a period of massive change and loss with some of its most ambitious and unexpected music.
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February 10, 2017The ageless New Zealanders sound as good and jangly as ever, even after being in a band together since 1982.
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February 3, 2017Peter Sagar continues to refine his minimalist, melancholy indie R&B sound on his third full-length as Homeshake.
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February 3, 2017Italian-born bedroom pop auteur Mauro Remiddi's third outing splits the difference between heady chillwave and Scandinavian pop grandeur.
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February 3, 2017The third full-length from these thrash metal revivalists is smart, funny, and hits hard like a baseball bat.
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February 10, 2017U.K. eccentric Julian Cope reclaims his whimsy and melodicism on this pleasing set of drinking songs.
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February 3, 2017Former Toy Soldiers frontman reinvents himself as a scrappy, literate garage-punk troubadour with this album.
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February 3, 2017The band's fifth studio album is reliably psychedelic, but lacking some of the invention of their best work.
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February 3, 2017Moody, new wave-inspired modern pop with guitars and very direct lyrics.
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February 3, 2017The post-Thin Lizzy unit's third studio outing invokes the heyday of late-'70s/early-'80s classic rock without falling victim to nostalgia.
For the most part, this debut is an album of aggressive, unapologetically gritty funk. On classics like "Rigor Mortis," "Funk, Funk," and "Post Mortem," one can pinpoint Cameo's influences, but at the same time, these gems demonstrate that even in 1977, Cameo had a recognizable sound of its own.
June 25, 1990
With a shockingly tight performance and a handful of evil anthems, Glen Benton and company managed to craft a death metal classic with their eponymous debut. "Lunatic of God's Creation" may be one of the best death metal songs written in this period, while "Carnage in the Temple of the Damned" is a speed-happy chunk of blasphemy that borders on grindcore.
