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Ghislain Poirier
DJ Ghislain Poirier has pretty omnivorous taste. From Dizzee Rascal and Juelz Santana to obscure African hip-hop, as long as the bass thumps, Poirier has room for it in his collection. more at pitchforkmedia.com
Posted 6 months ago.pitchfork on
My Brightest Diamond
On the one hand, My Brightest Diamond sounds like an indie band, with its tasteful but precise rhythm section and Worden’s tough, distinct guitar playing. But, throughout, strings take a central role in the composition of the songs; they’re woven into the songs’ fabric, rather than added as decorative post-production flourishes.more at pitchforkmedia.com
Posted 7 months ago.pitchfork on
Man Man
Man Man’s less sloppy but just as ramshackle, as if the snaps and crackles are the band’s diversion from actually writing the record. As a song and title, the breakneck “Young Einstein on the Beach” might be more self-referential than the band intended.more at pitchforkmedia.com
Posted 7 months ago.pitchfork on
JENS LEKMAN
Somebody hook this guy up with Nerve Personals quick—we need to keep him around. Oh You’re So Silent Jens, his new collection of previously released singles and B-sides, is a marvel of pure songcraft.more at pitchforkmedia.com
Posted 7 months ago.pitchfork on
Frightened Rabbit
On their charismatic debut Sing the Greys, Frightened Rabbit keep the instrumentation simple—drums, bass, guitar, and straightforward washes of keyboard and accordion.more at pitchforkmedia.com
Posted 7 months ago.pitchfork on
Carolyn Mark
Carolyn Mark has a smart mouth. On Nothing Is Free, her fourth album, the Canadian singer-songwriter cracks jokes at inappropriate moments, undercutting the gravity of the songs’ dire situations with ill-timed levity.more at pitchforkmedia.com
Posted 7 months ago.pitchfork on
The Breeders
While the Thom Yorke school of songwriters, bored with conventional pop structures, slice their music apart and reconstruct it digitally like a Burroughs novel, Deal’s latest compositions are disjointed by design—trying on and chucking lyrical ideas and musical motifs with abandon, almost elevating ADD to a kind of art form.more at pitchforkmedia.com
Posted 7 months ago.pitchfork on
Bowerbirds
Tacular, along with partner/guitarist Phil Moore and multi-instrumentalist and producer Mark Paulson, churns out deceptively pleasing folksongs about plants and animals and the unforgivable things we do to them.more at pitchforkmedia.com
Posted 7 months ago.pitchfork on
Born Ruffians
Born Ruffians are three Toronto teenagers with the precise sound we imagine when we think of indie rock in this post-Arcade Fire, post-CYHSY world.more at pitchforkmedia.com
Posted 7 months ago.pitchfork on
Bon Iver
For Emma, Forever Ago, Justin Vernon’s debut as Bon Iver, exudes such a strong sense of loneliness and remoteness that you might infer some tragedy behind it.more at pitchforkmedia.com
Posted 7 months ago.pitchfork on
Yeasayer
Brooklyn’s Yeasayer are the latest entry to this group of Byrne disciples, and one of the better bands to put a new spin on his polyrhythmic convulsing…more at pitchforkmedia.com
Posted 7 months ago.pitchfork on
Super Furry Animals
Whatever its etymology, Love Kraft is a utopian epic, a sweeping musical argument for love in the time of Fallujah. more at pitchforkmedia.com
Posted 7 months ago.pitchfork on
Arp
Arp is a new project helmed by San Francisco’s Alexis Georgopoulos, formerly of Tussle. His presence in that minimalist funk outfit says little about the nature of his new undertaking; while Tussle seem perpetually driven to get the party started, Arp is all about the late-night/early-morning comedown.more at pitchforkmedia.com
Posted 7 months ago.pitchfork on
The Coathangers
This Atlanta quartet, as seen on tour with Marnie Stern and the Black Lips, is part of a proud heritage of Southern new wave like the B-52’s and Pylon, with batcave keyboards, rock lobster guitars, and tons of heart-feasting vocals.more at pitchforkmedia.com
Posted 7 months ago.pitchfork on
Xiu Xiu
Favorites have a tendency to sneak up a little. I listened to The Air Force a dozen or so times without thinking much of it. In fact, Xiu Xiu’s fifth album didn’t click for me until late one night after the wrecking crew across the street had long stopped loading broken buildings into a dumpster.more at pitchforkmedia.com
Posted 7 months ago.pitchfork on
Nina Nastasia
The recording is bare and Nastasia makes her voice plain—not in a bad way, but to cut down on frills—and where she’s always sung in low tones, On Leaving finds her singing to an airless, empty room.more at pitchforkmedia.com
Posted 7 months ago.pitchfork on
Six Organs of Admittance
His strongest, most satisfying effort to date.more at pitchforkmedia.com
Posted 7 months ago.pitchfork on
buzzcocks
Yes, the Buzzcocks are doing what they’ve always done—writing raucous pop songs—but there’s something to be said for honing and plying one’s craft.more at pitchforkmedia.com
Posted 7 months ago.pitchfork on
Vashti Bunyan
On Lookaftering, it comes as a relief to hear not only how pristine Bunyan’s delicate vocals remain but that she has retained her understated abilities as a songwriter.more at pitchforkmedia.com
Posted 7 months ago.pitchfork on
Brightblack Morning Light
The word “Hypnotic”’s overused, but the band’s spatial know-how and rigorously muted flourishes are more than deserving of the accolade. It’s well-deep, blossoming ambiance.more at pitchforkmedia.com
Posted 7 months ago.pitchfork on
Brazilian Girls
Sophisticated as all this is, bits of it still flop, and other bits seem like they’ve gone overboard on the sophistication.more at pitchforkmedia.com
Posted 7 months ago.pitchfork on
Black Mountain
Black Mountain are about as referential as they come. But despite the obvious touchstones—which, incidentally, fucking rule—the band are affable and idiosyncratic enough to win over those who passed on recent retrofits like Comets on Fire’s Blue Cathedral or My Morning Jacket’s It Still Moves, and make those records’ admirers practically cream themselves.more at pitchforkmedia.com
Posted 7 months ago.pitchfork on
Battles
Mirrored is a breathtaking aesthetic left-turn that sounds less like rock circa 2007 than rock circa 2097, a world where Marshall stacks and micro-processing go hand in hand.more at pitchforkmedia.com
Posted 7 months ago.pitchfork on
The Hold Steady
Finn not only has a commanding, rousing voice but he also says something worth hearing, displaying gifts for both scope and depth that are all too rare in contemporary rock—indie or mainstream.more at pitchforkmedia.com
Posted 7 months ago.pitchfork on
Spoon
Gimme Fiction is actually a wildly diverse album, almost schizophrenic in its composition…more at pitchforkmedia.com
Posted 7 months ago.