Jacob Ganz
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"Is it human to adore life?" asks Jehnny Beth on a song that stretches out the London quartet's tightly-wound, pummeling attack, letting doubt and glory creep into the space left behind.
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Careful displays of sophisticated musicality sit next to wobbling, monstrous sounds on the band's new album of instrumental broken-robot rock.
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Whether you use it as a balm or an echo chamber for your despair, Ware's second album is a celebration of gloriously messy feelings, each tamed by her soft touch.
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After two solid albums, Too Bright is something shockingly new for Perfume Genius: a set of muscular, magnificently controlled songs that explore darkness inside and out.
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All over its darkly shimmering second album, the band showcases a remarkable ability to pull listeners' strings. Hundred Waters' members make music to burrow deep into, to obsess over.
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Nothing on Metamodern sounds forced; Simpson has perfected the trick of distilling classic country from many eras and moving away from it at the same time.
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Highly emotional rock that reads as low-stakes at first, Lost in the Dream is evocative and pleasant if you let it float by in the background. But it's made with hooks that sink in deep.
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The cello ensemble plays all 20 of the songs written and published as sheet music — but not recorded — by Beck.
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Hear two different versions of one song, "Death of a Party," from Blur's career-spanning box set.
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A huge appetite for drugs, a U.F.O. cult, great songs — just a few parts of the Tim Maia story.