[rating=7.00] Emily Haines isn’t the type to give anything away. With a career that includes such diverse ensembles as Metric and Broken Social Scene, the only consistency that can be
[rating=7.00] If it seems implausible that Waitin’ For the Sun is Rusty Young’s first-ever solo album, it’s well to keep in mind his long-term role in the seminal country-rock band
[rating=7.00] For Toadies’ seventh studio album, the Fort Worth quartet went into the studio without a plan, coming up with songs as they went with no roadmap in terms of
[rating=8.00] Lee Ranaldo has moved on (even dropping The Dust moniker) from his smoothly polished 2013 release Last Night on Earth to Electric Trim. This release is a quirky mix
[rating=7.00] With Ghost Gardens, Elliott BROOD continues to experiment with the myriad styles within its eclectic sound. This fifth album from the Canadian trio is a complex layering and melding
[rating=5.00] Prophets of Rage is a supergroup for our current times that is not designed to heal our country but fight the powers that be. They have a clearly defined agenda
Grace Potter’s Grand Point North Festival is celebrating its seventh year in 2017, but if there was a nagging predictability or any sense of lack of imagination in the presentation
[rating=8.00] Ariel Pink, like his music, is a curious swirl of fantasy, existentialism, and abounding magnetism. Dedicated to Bobby Jameson is Pink’s first solo album since 2014’s pom pom, and
[rating=8.00] For its follow-up to 2013’s Negativity, Deer Tick has released two full-length albums, each showcasing a distinctly different side of the Rhode Island band. Volume 1 is a soft,
[rating=7.00] Released in anticipation of John McLaughlin’s final tour of America, Live at Ronnie Scott’s features a cover photo of the famous London venue with the silver-haired musician pictured in
