Doug Mosurock
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Foxygen's Shaun Fleming aspires to a '70s ideal that rolls up sugarcoated bubblegum glam, soul balladry, Francophone pop and echoes of the Brill Building.
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Finding inspiration in 1980s American punk, to battle the artisanal Armageddons of hyper-development with guitar aggression.
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On its first full-length album, the freewheeling Louisville band plays to classic rock 'n' roll ideals while simultaneously trying to dissolve them in acid.
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On his surprising, complex third album, Gibson outlines dark and alluring tales of horror and despair, human struggle and eternal regret.
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Always provocative, the band jettisons post-punk thrash in favor of a sturdier Top 40 pop sound that recalls the early to mid-'80s.
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If the psych-rock practitioner's goal is to disorient, he's succeeded. But Scott accomplishes it with the tuneful exuberance required to bring so many elements together.
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Squaring up with JEFF The Brotherhood at any time during its career has been mercifully simple: Come for the riffs, stay for the riffs. Hand, make horns. Horns, meet sky.
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The duo takes a few steps toward modernity on Fantasy Empire, which finds Lightning Bolt moving away from congested, low-fidelity sounds in the pursuit of studio clarity.
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Recording a reunion album after 35 years, the defiant and inventive British band meets the modern era head-on, tempering its dystopias with the rhythms required to move bodies and open minds.
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The band's frigid, deafening, brutalist post-punk nods toward experimentalism. A massive production, Viet Cong's self-titled debut culminates in a furious bonfire of rage and release.