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Blonde Redhead finally emerges from the shadows of Sonic Youth's post-punk legacy by avoiding the expected detunings, distortions, and shrillness of the genre. The three-piece manages to create a record that is subtle, tuneful, and sublime.
If you distilled California into soundwaves and vibrations, it might resemble the sonic and spiritual interplay of the Los Angeles quintet Local Natives.
Overcoats' second full-length album, The Fight, is a ten-song battle cry. However, Hana Elion and JJ Mitchel's vision is not about picking up arms, but rather picking yourself up.
The fourth album from the platinum-certified artist. The musician enters previously uncharted territory in every sense-from sound to lyrics to visuals, and everything in-between.
Alvvays are two women, three men, a crate of C-86 tapes and a love of jingle-jangle. Convening in Toronto, the group have been making music since since dusk or maybe dawn.
OutKast's debut album shows one of the most distinctive production sounds in the '90s: part hip-hop; part live, Southern-fried guitar licks and booty-thick bass runs; and part lazy, early-'70s soul.
After more than a decade with Modest Mouse, Isaac Brock still sounds young and weird and searching, and never more so than on Good News for People Who Love Bad News.