Album review: Hundred Waters’ ‘The Moon Rang Like a Bell’
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Hundred Waters’ sophomore album takes us on a richer journey
Album review: Hundred Waters’ ‘The Moon Rang Like a Bell’
Robert Miller
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Tycho records as a three-piece band but maintains minimalism
Album review: Tycho’s ‘Awake’
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No orchestra in sight on Manchester Orchestra’s new album
Album review: Manchester Orchestra’s ‘Cope’
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The War on Drugs gets lost in classic rock comparisons
Album review: The War on Drugs’ ‘Lost in the Dream’
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The Hold Steady presents a pragmatic stylistic relapse on ‘Teeth Dreams’
Album review: The Hold Steady’s ‘Teeth Dreams’
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Bleeding Rainbow’s ‘Interrupt’ is more imitation than originality
Album review: Bleeding Rainbow’s ‘Interrupt’
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Real Estate discovers beauty in simplicity on ‘Atlas’
Album review: Real Estate’s ‘Atlas’
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The Men return to form on ‘Tomorrow’s Hits’
Album review: The Men’s ‘Tomorrow’s Hits’
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St. Vincent travels to more creative and abstract heights
Album review: St. Vincent’s self-titled
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Wild Beasts’ ‘Present Tense’ focuses synths on unfulfilled yearnings
Album review: Wild Beasts’ ‘Present Tense’
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Schoolboy Q’s major-label debut is worth its weight in gold teeth
Album review: Schoolboy Q’s ‘Oxymoron’
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Damien Jurado’s ‘Brothers and Sisters’ is both soothing and exciting
Album review: Damien Jurado’s ‘Brothers and Sisters of the Eternal Son’
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Mogwai emphasizes electronics on tongue-in-cheek ‘Rave Tapes’
Album review: Mogwai’s ‘Rave Tapes’
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Grails latest ‘Black Tar Prophecies’ sounds like an identity crisis
Album review: Grails’ ‘Black Tar Prophecies Vols. 4, 5 and 6’
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Tim Hecker’s ‘Virgins’ is dizzyingly invigorating
Album review: Tim Hecker’s ‘Virgins’
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The Weeknd’s ‘Kiss Land’ is catchy but nothing new
Album review: The Weeknd’s ‘Kiss Land’
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Chvrches’ debut is flashy and grandiose pop to believe in
Album review: Chvrches’ ‘The Bones of What You Believe’