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By Maddalena De Beni · 23 October 2014
Kiesza's Sound of a Women is the perfect complement to ’90s nostalgia.
By Ryo Miyauchi · 22 October 2014
Weyes Blood's The Innocents is not as calming as it would lead you to believe. Underneath the waves lies an ocean of trouble, dealt with throughout the album's duration.
By Ramon Romano · 21 October 2014
On Tough Love, Jessie Ware picks up exactly where she left things on Devotion, but here she raises the ante.
By Ian Cory · 21 October 2014
Soused finds Sunn O))) lending their sound to Scott Walker, an artist capable of weaving it into a much larger and deeply disturbing picture.
By Ray Finlayson · 20 October 2014
Galun's third record, Solitude, is a half-hour chasm of ambient noise ready to be explored.
By Ramon Romano · 17 October 2014
Otherness continues to showcase Kindness's technical precision, but few tracks attempt to bridge the gap between maker and audience.
By Rory McCluckie · 16 October 2014
On Rips, Ex Hex revel in their kinetic urges with unashamedly high spirits.
By Ryo Miyauchi · 15 October 2014
Museum of Love's self-titled debut is much more than a side-project; it is well defined, well produced, and inherently well-crafted.
By Susan Kemp · 14 October 2014
Andrew McMahon in the Wilderness incorporates the synth in a way that feels believable and fluid, like a direct evolution of the Jack’s Mannequin sound — not a dismissal of it.
By Lee Barnes · 13 October 2014
And the War Came sees Shakey Graves expanding his folk-tinged Americana without compromising his signature intimacy.
By Ray Finlayson · 13 October 2014
The beauty of Ólöf Arnalds' voice is buried under the overworked and often tedious production of Palme.
By Ray Finlayson · 10 October 2014
Trying to identify features of Hani Zahra's Cereal feels like trying to pick apart and piece together happy memories.
By Barnabas Abraham · 09 October 2014
With her third and final album, Heartleap, Vashti Bunyan cements her legacy as a folk revivalist.
By Ryo Miyauchi · 09 October 2014
The real star of Right from Real is, of course, Lydia Ainsworth herself.
By Melissa Scheinberg · 08 October 2014
Banks and Movement brought their sexy, sultry R&B to a sold-out crowd at New York City's Terminal 5
By Ray Finlayson · 08 October 2014
On Taiga, Zola Jesus balances between the present and the future to admirable effect.