Natalie Prass‘ second album pairs the sharp and the smooth, its keenly observed lyrics about love and politics grounded in arrangements that recall soft-pop highlights from the past four decades. The Future and the Past is a modern echo of that moment when soft rock and Quiet Storm fed off …
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In its piano-ballad gait, baroque-pop raptures and confessional sting, Josh Tillman’s fourth album as the darkly antic Father John Misty often sounds like it was made more than 40 years earlier under yet another name: John Lennon. It’s as if Tillman wrote and arranged these songs under the sumptuous, despairing …
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Pusha-T’s third – and best – solo album is a marvel of musical precision. On this 21-minute, EP-length collaboration with producer Kanye West no moment is wasted. If this seven-song collection being marketed as an album statement seems frustratingly incomplete, it’s only because Pusha T and West leave the audience …
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Just after Liam Gallagher released his great As You Were, here comes his brother Noel with a fine one of his own – it’s almost like they’re in a rivalry. His latest with the High Flying Birds is a dazzling mess spackled together from the influences he’s been tapping since …
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It may be the closest Liam Gallagher has come to apology. “In my defense all my intentions were good,” the ex-Oasis singer asserts on his solo debut, in a song that shares its title with Buffalo Springfield’s “For What It’s Worth.” “But I am a dreamer by design,” Gallagher adds, …
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All hail Wolf Alice, four U.K. twentysomethings who have not gotten the memo about rock not mattering anymore. On a second album that dares to both sprawl skyward and focus its volume introspectively they fashion clouds of guitar noise into a crown for singer-guitarist Ellie Rosewell. It glitters seductively, but …
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