Optica, the fourth LP from Swedish quintet Shout Out Louds, really does deserve its own review: it’s turned out one of the best songs of the year, and the rest of the album is no slouch, either. “Where You Come In” is the type of glimmering, wistful pop the band does so well, a teasingly
Where in the world are we? Japan. What are the stakes? I’m just going to quote IMDB here, because, well, here: “Agent 007 and the Japanese secret service ninja force must find and stop the true culprit of a series of spacejackings before nuclear war is provoked.” Does it work? Did you read that synopsis?
Portugal. The Man have always been about the singles. While their albums on the whole tend to sag beneath an overdose of psychedelic flourishes, they have consistently churned out great, infectious pop songs like “People Say” and “All My People” that are just off-kilter enough to keep them off the charts. Evil Friends, the oddly-punctuated Portland
“You don’t mind seeing yourself in a picture as long as you look far away, as long as you look removed,” Matt Berninger sang on Boxer‘s key single, “Mistaken For Strangers.” It’s a line that applies to his bleak but steadily dignified band: over their previous three albums, the National have become masters of atmosphere, able
You’ve gotta feel sorry for Phoenix. Imagine, for a second, that you’re a quirky little French pop band with a handful of decently received albums and a respectable fan base. Then, a bizarre twist of fate that probably confuses you as much as anyone else: not one, but two of your songs storm across the airwaves
The 1960s ended some forty-odd years ago, but enough bands seem stuck in that vacuum that you could be forgiven for thinking Lyndon B. Johnson was still in the White House. A single listen to Cool Cocoon reveals that Delaware outfit The Spinto Band share the same fondness for hazy harmonies and psychedelic flourishes as many
When the first single from Telekinesis’s third album, Domarion, arrived, it was greeted with some mild consternation. Michael Benjamin Lerner’s first two albums were punchy, athletic pieces of guitar pop, anchored by their zig-zagging, syncopated riffs. So when “Ghosts and Creatures” came along, an airy synth ballad with an ethereal piano line and a steady –