Where others might layer up to obscene degrees, Stott has a knack for finding beauty in minuscule details. It’s practically ambient music for club-goers.
The record takes listeners on a spectacular musical safari, zipping between genres without ever feeling the slightest bit disjointed.
Another commanding and deft iteration of Godspeed’s lauded post-rock style. Although lacking the range of previous records, it still offers space to think.
A rock record produced like a dance record, with endless amounts of saturation and compression applied to, well, everything. This is a failed experiment.
From brotherly estrangement to Fabergéal financial ruin to dental calamity, Bleeding Gums’ soulful howling and gravelly tone is magnificient.
Vintage Del Rey (in both senses of the word), though the curious thing about the record is that it flies highest when she sounds least like herself.
An epic poem in LP form, throughout Cohen embraces a brutal honesty that, although daunting on the surface, reminds you that bleakness can be beautiful.
An album caught in no-man’s land, its dozy stadium rock tunes neither advancing Kings of Leon’s sound nor recapturing the glory of their past.
The shift away from skeletal guitars is welcome, but Baker’s strength does not lie in expansive arrangements. The songs sound like they’ve been developed for arenas, which is a strange paradox.
An expansive, impressive listen with delicious moments of climactic eruption. For Mogwai fans, this should feel like a hit in the band’s discography.