Category: ESSENTIAL NEW MUSIC
Essential New Music: R.L. Boyce’s “Roll And Tumble”
Como, Miss.’s R.L. Boyce delivers in droves with “the most important, honest to God Hill Country blues record made since
Essential New Music: King Khan’s “Murder Burgers”
To not hear King Khan belting witty lyrics over perfectly trashy R&B, either with nine-piece gang the Shrines or laying
Essential New Music: Faith Healer’s “Try ;-)”
Cosmic Troubles, the 2015 debut from this Edmonton two-piece, charmed and arrested with its airy, ’60s-indebted jangle, casually perfect guitar
Essential New Music: The Jazz Butcher’s “The Wasted Years”
For a prolific musical project with nearly as many compilations as official releases, it makes sense that the Jazz Butcher—a.k.a.
Essential New Music: Circuit des Yeux’s “Reaching For Indigo”
Attempting to pin down the last decade of peerless music of ineffable inspiration and sound that has arrived behind the
Essential New Music: Flotation Toy Warning’s “The Machine That Made Us”
Although it fit in with woozy, beloved contemporaries such as Grandaddy’s Sumday and Sparklehorse’s It’s A Wonderful Life, Flotation Toy
Essential New Music: Antietam’s “Intimations Of Immortality”
There are bands with a bit of history, and then there’s Antietam. Tara Key and Tim Harris founded the band
Essential New Music: Pearls Before Swine’s “One Nation Underground”
When it was released on the ESP-Disk label in 1967 (on the same day as Sgt. Pepper no less), One
Essential New Music: Lucinda Williams’ “This Sweet Old World”
Lucinda Williams has recently done some of the greatest work of her long career. Both 2016’s The Ghosts Of Highway
Essential New Music: Anti-Flag’s “American Fall”
Considering the results of the last presidential election and its attendant fallout, the times are ripe for a revitalization of
Essential New Music: Beck’s “Colors”
If 2014’s Morning Phase was surprising (and winning in every way) for its soft, supple melancholy—a distant cousin to Beck’s
Essential New Music: The Jam’s “1977”
Neither as bracingly rude as the Sex Pistols nor as persuasively political as the Clash, the Jam didn’t translate Stateside











