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By Robert Whitfield · 30 October 2014
Nostalgia is, overall, a pretty good covers album and a decent Annie Lennox record.
By Frank Bell · 29 October 2014
Playing to a hyped up crowd at Chicago's Riviera Theatre, SBTRKT delivered a set that almost seemed crafted specifically for the live setting.
By Lee Barnes · 28 October 2014
On Ruins, Grouper invites the listener into someplace a little more exposed and emotionally threadbare than on her previous work.
By Ray Finlayson · 27 October 2014
On their self-titled debut, HAERTS are all about big, broad sentiments that seek to take in lost, sad souls and hug them better.
By Susan Kemp · 24 October 2014
If Cold War Kids ever manage to combine their new sound with a bit of their old personality, they could be magic — but Hold My Home isn't quite there yet.
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.