If the symbols in everyday life have taken on new meaning, so have Death Cab For Cutie’s songs, which aren’t so much about domestic happiness as the peace that comes with settling down.
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Times New Viking has a strangely likeable habit of jumping between listless exercises and vintage power crunch.
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If there’s one shining characteristic of The Proximity Effect, it’s that it doesn’t feel like a big, bold statement on society and culture. Whether lyrical or melodic, restraint and subtlety are sorely missing from today’s pop music scene, and I propose there’s no better band right now than Laki Mera to fill that void.
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Architecture in Helsinki finds just as much prettiness in dance floor electro-grooving as they ever did in hushed acoustic conversations.
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Owing heavy debt to dour ’80s post-punk, Cherish the Light Years comes just behind the times, huffing and puffing in the midst of what may or may not be a ’90s revival.
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Ryan Schmale’s stage name and the equally removed title of his debut appropriately represent a collection of detached, shuddering folk songs.
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When he achieves balance in a single piece, Benn Jordan’s music betrays his experience level. Too often, though, Love as a Dark Hallway still sounds like kids’ stuff.
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Collapse into Now, seems to make the most sense when looking in the rear view.
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While she’s entering her third decade as a singer, Polly Jean Harvey actually appears to be aging in reverse. She would have you think a war-themed album would be her frothiest yet, but the reality is she has never sounded more childlike.
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