Reviews of Music, Movies, Anime & More

Will Self-Destruct is a virtual paean to some of the most memorable and important music of the Clinton-era.

The impression I leave with is that Limited Sight Distance is still trying to find their sound.

These worldweary ballads conjure up dusty country roads and long stretches of twilit interstate.

Orange Cake Mix presents a blend of shoegaze, glitch, warm electronica, and pop.

A fascinating study in electronic music that takes clichéd sounds in new, interesting directions.

I could only fully appreciate Submers’ nautical-themed soundscapes once I listened to them over headphones.

The debut full-length from The Faint’s bassist is full of interesting ideas. Perhaps too many, even.

This EP is a condensed version of everything that I love about Denison Witmer’s music.

Pearcy’s folk-pop songs long for a rescue from the hectic city life.

Each song on here is given a chance to breathe, with smoky, rustic atmospheres filtering throughout each song.

I recommend you put a blindfold, throw away the liner notes, and listen to all of this fresh stuff.

Much of it ends up sounding like something Damien Jurado might record on a really off day, only to quickly tape over it with something else.

Not a bad record by any means, but I just find myself wanting to like it more than I do.

No More Shall We Part is the best album of 2001.

When all is said and done, the band seems happy to continue with the success that they have enjoyed so far.

Sam Beam is a poet, plain and simple.

While the group’s music may not take the heartbreak away, it sure makes it easier to take.

The expansion of their sound gives the Procession room to grow and breathe in previously impossible directions.

Compared to the celestial heights that Ágætis Byrjun strove for, ( ) feels remarkably restrained. But in its own way, far more ambitious.

An album that reminds me of why I loved, and continue to love, their music so much.