Progressive
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Punchier, rawer, thirstier, more political, stickier, cataclysmic, better than its debut from last year in more ways than one.
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Choi Yeon-soo, once an earnest K-pop aspirant called D:elta, peers through with one of the most stunning art pop works in this decade.
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Mabe Fratti’s second album in the art pop project with her partner Hector Tosta piques artsy curiosity with restricted expressive virtuosity.
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Three years after their masterpiece, the acclaimed six-piece realises their transition to prog-pop at the cost of a big piece of their core identity.
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This is definitely one of the more carnivalesque, rapturous celebrations of the end of the world as we know it in its apocalyptic sightings.
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When one of the indie all-time greats decides to make one of the potential all-time greats in Christmas songs.
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The 21st Century Anthem for Doomed Youth.
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Thirty years ago, the Britpop pioneers’ sophomore record dropped with its ambitions all out. The 30th Anniversary edition proves that it’s no flaw.
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The ex-frontman of Black Midi’s solo debut is an epic prog-rock tale of inceldom and masculinity that never lets go of the pedal.
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One of the top folk rock bands in Oregon comes out with a new record after six years’ worth of waiting. It could’ve been worse, I suppose?
GutterPutter 