Category: RECORD REVIEWS

As an attempt to move beyond the post-punk noisiness of 2006’s A Hundred Miles Off, the fourth proper Walkmen album

Hell hath no fury like a woman scorned, especially if she happens to be a songwriter with the means to

Those wondering where Daft Punk’s creative juices went during the period between 2001’s Discovery and 2005’s Human After All might

When did setting poetry to music become cool again, you ask? Well, it didn’t, of course. Ask around on the

The Notwist’s last album, 2003’s Neon Golden, was irresistibly catchy and irretrievably downbeat. Both of those qualities are muted on

If My Brightest Diamond’s 2006 debut Bring Me The Workhorse was singer/songwriter Shara Worden’s dramatic move away from the clutches

From Big Star to beard-era Beatles, Sloan’s sprawling Never Hear The End Of It hit all the classic pop touchstones

“I just want it to be weird,” Jim James told MAGNET last summer, when his still-gestating Evil Urges barely registered

As violinist for Rufus Wainwright, Lou Reed, Antony And The Johnsons and others, Joan Wasser possesses impeccable artistic credentials. As

Ladytron’s default mode is steadfast retroism. When the Liverpool band isn’t playing synth pop, it’s shoegazing. On fourth album Velocifero,

Musical liberation has always been Free Kitten’s mantra. Fitting, since its core members hail from some of the past 30

Is there trouble brewing in pop paradise? It sounds like someone’s been cheating on Mates Of State’s watershed fifth album.

If the Black Angels’ 2006 debut was about the unraveling of the American dream—10 songs of alienation and anomie employing

ROYAL BANGS: We Breed Champions [Audio Eagle] Listen to the weary vocals and languid, Strokes-like guitars on “Broke Calculator,” and