[rating=6.00] From the horn intro leading to the first verse of album opener “New Love,” it’s clear that Amos Lee is again taking his sound in a new direction. After
[rating=8.00] Divorce, the second full-length album from JPNSGRLS, continues to build upon the promise of their 2014 debut, Circulation. The sophomore album by the Canadian quartet of non-Japanese men is
[rating=7.00] Seven albums into their career, Swedish trio Peter Bjorn and John continue to fine-tune their style of infectious indie pop. Though the band’s major breakthrough – both commercially and
[rating=5.00] For their third full-length album, Fitz and the Tantrums abandon their soulful roots in favor of a pop aesthetic more in keeping with current pop radio. 2010 debut Pickin’
[rating=7.00] Over the course of 15 years and four previous albums, indie duo The Kills have continuously refined their sleazy rock sound, adding and subtracting influences and keeping their core
Anyone who thought Grace Potter’s pop rock album Midnight meant that Potter had gone soft was proved wrong on Sunday night at Orlando’s House of Blues. Backed by her new
[rating=9.00] Yeasayer is one of those bands that sound different on each album, a fact that is both refreshing and frustrating to fans. Though each album sounds distinctively like Yeasayer
[rating=8.00] Moth, the third album from Brooklyn duo Chairlift, is the band’s boldest statement yet, adding an urban edge to their synth pop sound. Singer Caroline Polachek has learned to
[rating=7.00] With his third full-length album Age of Transparency, Autre Ne Veut (real name Arthur Ashin) continues to explore the fringes of post-R&B. He expands upon the eclectic experiment on
[rating=8.00] Ten years after the release of the Grammy-winning debut album that put Wolfmother on the map, the Australian rockers are revisiting that material with a Deluxe Edition re-release. The
