The Jesus Lizard Return With the Uncompromising ‘Rack’
Rack is another thrilling chapter from the Jesus Lizard, one of the most significant noise bands ever and whom many groups claim as a heavy influence.
Rack is another thrilling chapter from the Jesus Lizard, one of the most significant noise bands ever and whom many groups claim as a heavy influence.
Jawbox’s major label debut is their most beloved album, a perfect marriage of songwriting and production that sounds as thrilling today as it did 30 years ago.
Shellac’s To All Trains is as compelling as anything they ever produced and a swan song. In Steve Albini’s case, the swan must surely be big, angry, and black.
The death of artist and recording engineer Steve Albini leaves popular music bereft of one of its staunchest defenders against corporatized greed and conformity.
Melvins are masters of their craft, still able to make songs that stand with their finest work precisely because they’re never trying to recapture that past.
On their first album in seven years, Allentown, PA’s Pissed Jeans return with a short, savage, scathing and often hilarious takedown of the modern world.
Rid of Me’s Access to the Lonely is one of the essential hardcore records of the past few months, but it cannot be contained by one genre.
Drawn from recordings of UK shows in 1985, Walls Have Ears is a wild, unvarnished listen that gets back to the difficult, defiant essence of Sonic Youth.
Nirvana’s In Utero is both an acknowledgment of the deleterious impact of fame and a real-time endeavor to use that fame to beneficial ends.
Gold Dime’s No More Blue Skies can be loud, fast, and urgent but will also disarm you and create a deeply unsettling atmosphere. It’s well worth the wait.
Sprain’s aim at a masterpiece finds an exhaustive, immersive, and ambitious work of post-rock, noise, and poetry that intellectuals will lust after.
Alt-rock trio Upper Wilds’ energy and enthusiasm are seemingly endless, and like the universe, they take great pains to explore and chronicle on Jupiter.