Electronica
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The British indie rock band’s third album is short and concise but it doesn’t stop the fact that it isn’t the most cohesive nor the most out-there.
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In a big subversion to post-industrial artistry, the Ontarian flips everything we know about love to convey his rawest feelings. And it is stunning.
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Twenty-five years ago, the D.C. rock band concocted what might well be one of the most indie records of all time, rife with everyday youth problems.
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Credit where it’s due, the post-Britpop global phenomenon remains as wholehearted as ever even if their world peace-vibe dulls too often.
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The eminent Californian avant-rock band steps into psychedelic territory with wondrous and heartrending results on mortality.
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It feels senseless. It sounds senseless. This record makes as much sense as saying the word “deer” like it’s the apex of absurdist comedy.
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The bildungsroman Korean album that’s tied in part to idealism and reality is an instant classic. This will go down as the holy grail for growing up.
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Porter Robinson’s third studio album might as well be the one about his fandom, to his fandom, for his fandom. A brilliant internet opus.
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Abrasive, catchy, unironic bop all the way through. Charli XCX hits like a diva maestro with her signature avant-pop formula.
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The stalwart American duo have concocted quite a fable on love, death, and maturing with pure psychedelia.
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