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By Susan Kemp · 28 July 2014
Harvey Danger's Where have all the merrymakers gone? may not have originated the sound of a generation, but it certainly captured the voice of it.
FREEMAN presents us with a pretty respectable solo offering, one that will definitely please those with the patience to sit through a slow burner and enjoy its small surprises.
By Staff · 25 July 2014
The July edition of What We Missed reviews three of the month's most striking artists: The Bilinda Butchers, DJ Dodger Stadium and Magic Man.
By Ray Finlayson · 25 July 2014
On Glass Body, Soft as Snow tread that line between music which challenges the listener while being universally appealing, with mixed results.
By Becky Rother · 24 July 2014
Pitchfork Music Festival ends with a series of sizzling acts, mixing electronic lovechild Grimes with hip-hop princelings Kendrick Lamar and ScHoolboy Q.
Day Two of Pitchfork Music Festival included some of the best performances of the summer, from the braggadocios Pusha T to the otherworldly St. Vincent.
By Ramon Romano · 24 July 2014
Always the visionary, La Roux's Trouble in Paradise is fresh and stylish – definitely worth the damn long wait!
By Becky Rother · 23 July 2014
Pitchfork Music Festival 2014 came and went in a flash, with some spectacular weather and an incredibly diverse lineup.
By Ryo Miyauchi · 23 July 2014
Nostalgic at its core, the debut album from Alvvays breathes life into the moments of singer Molly Rankin's past with storied lyrics and thoughtful vocals.
By Ian Cory · 22 July 2014
With Never Hungover Again, Joyce Manor’s conciseness isn’t noteworthy because it’s unique, but because it’s effective.
By Barnabas Abraham · 22 July 2014
White Fence buffers up the production on For The Recently Found Innocent, but seems to be stuck in a rut of his own creation.
By Rory McCluckie · 21 July 2014
The Amazing Snakeheads have found something special with their debut record, Amphetamine Ballads
By Susan Kemp · 21 July 2014
The irony with Bleachers' debut album, Strange Desire, is that after the fourth track “I Wanna Get Better”, the album just keeps getting worse and worse.
By Brian Peterson · 18 July 2014
Despite virtuoso electronic production and some genuinely stunning moments, The Acid's Liminal never quite achieves the buoyancy of its forebears.
By Barnabas Abraham · 17 July 2014
Break Line The Musical is a fun and entertaining listen, and anyone who's looking for something fun and deep to sink their teeth into shouldn't hesitate giving it a spin.
By Rory McCluckie · 16 July 2014
On Conversations Woman's Hour both falter and flourish under their tonal commitments.