Doug Mosurock
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In the wake of Sonic Youth's collapse, Moore's new solo album is almost calming in its familiarity, particularly as it recalls a minor-key update of SY's well-loved late-'90s salvo A Thousand Leaves.
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Meatbodies' Chad Ubovich has learned to put his personal spin on the surf-strum mutant beach party championed by California psychedelic rock bands like Thee Oh Sees, Wand and Bleached.
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On his third album, the D.I.Y. glam-rocker re-brands himself as some sort of demonic teenager. But Black Moon Spell is, at heart, the sound of one guy making sure everyone around him has a good time.
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This rowdy, ramshackle party house of a band is built on the intersecting bedrock of post-punk and indie rock. On Poor People Are Revolting, there's something crazy going on in every room.
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The British band borrows from the best to contextualize a sound that's at once heavy, sinister, tuneful and theatrical, piling on the fuzz and reverb until its songs practically foam at the mouth.
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It's a shame that the rock record of the summer had to surface at the end of the season. Segall's lush, panoramic double-album piles on glam-rock excess without ever feeling excessive.
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Frontman Dan McGee writes songs with more personality than almost any in garage rock. This album exudes the unabashed glee that comes from music played hard and with reason.
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Performing as White Fence, Tim Presley steers toward the gentle pomp of late-'60s psychedelic pop, rock and folk. Along the way, he writes to the canon from which he performs and bends it to his will.
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On its new album, the experimental pop band explores elements of gamelan, a chromatically tuned metallophone music that's been played in Asia's Pacific Rim since roughly the 8th century.
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Elephant 6 veteran Will Cullen Hart returns again as Circulatory System with a masterfully orchestrated, 31-song cycle that touches upon dreamlife and waking fears.