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All Articles for Pitchfork Feed: Reviews
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One of the year's best rock albums now has a companion EP-- complete with remixes from the Field and Four Tet, as well as a cotribution from Joell Ortiz and a pair of videos.
BBC Radio 1 celebrates itself by asking the hot bands of today (you know, Razorlight, Calvin Harris, Paolo Nutini) cover the hits of yesteryear. Also involved are the Raconteurs, Lily Allen, Klaxons, the Streets, Foo Fighters, and Kylie Minogue.
A 2xCD compilation mixed by Playgroup (former Output Records owner Trevor Jackson) and Alter Ego pauses to consider what we mean when we speak of "electro."
Though at times heavy-handed, there's a dark gravity to this album from the former Verbena singer, who now seems reborn as a
southern preacher type, steeping blues-folk sermons in Biblical imagery.
New York dance-rock outfit returns with a jittery, sullen seven-track EP that sort of rocks and doesn't really dance.
After successful tours with Dan Deacon and Girl Talk, White Williams issues a debut album layered with impeccable
influences-- including Roxy Music, Beck, and T. Rex-- and a sense of calculated disaffection.
Visual artist David Shrigley has a book of his lyrics set to music by 39 artists over two CDs; among those featured are Liars, Grizzly Bear, Franz Ferdinand, Hot Chip, David Byrne, Final Fantasy, and Dirty Projectors.
Band's third album of convincingly vintage-sounding soul is slightly smoother and more refined than its predecessors, tending to evoke late-1960s Motown rather than early 70s r&b.
Versatile guitarist Chris Schlarb releases his first solo album under his name, enlisting dozens of collaborators including Sufjan Stevens, and also has a new record with his I Heart Lung duo project with drummer Tom Steck.
Calvin Harris didn't create disco, duh. He didn't create
electro-house, either, but in a year full of cranked synths, proud
hedonism, and Daft Punk shows, the UK music-buying public has decided to
befriend the Scottish producer and singer-songwriter
Despite one album to his name, the easy availability of free mp3 bootlegs of DJ sets, and the relatively greater rewards of mixes, Pascal Arbez has decided to issue a live CD.
This odds-and-ends collection of alternate versions, covers, and toss-offs was originally released as a tour-only CD and is now being re-released by Polyvinyl.
Chicago pop-rock fusionists release their seventh full-length and first for K Records, harnessing the disparate lo-fi and 1960s rock influences they've explored in their career thus far.
This short, sweet, and mostly acoustic offering is more austere than many of bandleader Kyle Field's prior records but no less affecting.
Cobbled
together from various early 1970s sessions, Jack of Diamonds approximates what might have been the King of Cali-rock's second solo album.
The soundtrack to Todd Haynes' unorthodox Bob Dylan biopic casts more than two dozen artists-- including Stephen Malkmus, Sufjan Stevens, Jeff Tweedy, Cat Power, Sonic Youth, and Yo La Tengo, among many others-- to re-create the singer's singular voice in all its permutations and variations.
The latest in a lengnthy reissue campaign, Can offers its 1993 compilation-- a difficult attempt to condense this band's rich and varied career to two CDs-- in remastered form.
Ray Raposa's gothic Americana remains obsessed with death and departure and inevitability on his latest Asthmatic Kitty release.
Like Broken Social Scene, the Most Serene Republic blow up private bedroom ballads to marching band proportions and play
up a revolving-door policy for vocalists.
With an almost charming defiance, Bay Area foursome Film School are long on whooshy, gliding guitar lines and Kevin Shields impersonations.
Tied to a film-related renewed interest in the band, Joy Division's three formative, formidable works get cleaned up and reissued in deluxe form.
Tom and Christina Carter's latest album strikes a savvy balance between tradition-based songcraft and
open-ended psych-folk expression.
The long-mysterious and beloved Dean Wells prepares for his close-up by stepping into the world of live performance and issuing another record of understated Guided by Voices-like indie pop.
On her first solo album in more than a decade, Blondie's iconic frontwoman offers rare perspective from a 63-year-old woman in the rock world.
Second album by Thomas Bartlett builds on the hushed melancholy of his debut, but also shows an increased interest in texture, as proper songs alternate with varied instrumental interludes.
Culled from singles for DFA and Paw Tracks, as well as five cuts from an EP released simultaneously with Load Blown, the Brooklyn band's fourth official LP is really more a singles collection than an album but it hangs together well regardless.
Underworld offer their second album since the departure of longtime member Darren Emerson-- and first since their lone misstep, 2002's A Hundred Days Off-- with a record that improves on its predecessor and recalls their early 90s sound.
Early 90s-style rap traditionalism colors a record complacent in the idea that evoking years past in a deeply personal and nostalgic way is enough to sustain an album. Mos Def, Little Brother, Jean Grae, and Saigon all make appearances.
The UK band follows its Clash-referencing debut with a record that proves to be a throwback not to 1979, but 1997: Here the group finds itself pitching every song to the bleachers at Wembley, open to electronic
rhythmic enhancements and over-inflated with a
sense of conviction and self-belief.
Second album by technically proficient Brooklyn duo with art-rock leanings puts a verbose and intellectual spin on dense, spasmodic musical structures.
This Brooklyn four-piece follows its fantastic single "2080" with a debut packed with similar moments of pan-ethnic
spiritualism. Like Midlake, Grizzly Bear, and Animal Collective-- who have all recently re-shaped tribal, primitive sounds into ultra-modern forms-- Yeasayer channel both a dystopian science-fiction sensibility and
deep appreciation for the natural world.
Depeche Mode singer makes his solo debut with a Pro-Tooled set of dark rock grooves and electronic buzzing that, although lacking any element of surprise finds his songwriting assured and competent.
Since their 2005 breakthrough One Ten Hundred Thousand Million, these electronics-loving Austinites have added another member and further refined their sound.
On album number four, this Asheville, N.C., trio offers technically complex instrumental rock executed without studio fussiness.
Latest from Massachusetts-based improv folkies Matt Valentine and Erika Elder finds them finds them paying homage to Neil Young, not entirely successfully.
On the second release from his post-Libertines group Babyshambles, Pete Doherty writes what he knows: bitterness, self-pity, and general apathy towards his own exhausting public displays of drug addiction.
The 21-year-old singer-songwriter John McCauley leads this band on their debut album, which shows influence from both the alt-country and more straightforward indie-rock spheres.
FatCat/DiCristina collects Bunayn's singles recorded in 1965 and '66 for Decca and
Columbia with Rolling Stones producer Andrew Loog Oldham, a string of
demos from the same period, and the full reel-to-reel of her first
studio recordings from 1964.
Compiled by Peanut Butter Wolf, this video-game tie-in doubles as the latest in a long line of Stones Throw state-of-the-label comps. Talib Kewli, Q-Tip, J. Dilla, MF Doom, and Madlib.
Second U.S. release from Emil Svanängen is another rustic variation on sugar-sweet Swedish pop carrying a mood of willful naivete and dreamy solitude.
