Consequence UNCUT

God's Father Customer sees Father John Misty at his most desperate, heartbroken state, making a solid comedown record from I Love You, Honeybear and Pure Comedy that doesn’t quite hit the profound highs of its predecessors, but gets carried quite a long way on the backs of its honest songwriting.

An album review by Steven Edelstone, read by Michael Roffman.

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As expected, Tell Me How You Really Feel still finds Courtney Barnett writing "Courtney Barnett" songs, but there’s an unmistakable growth in the Aussie’s compositions. Her strongest melodies yet meet an untrained voice that’s gaining confidence and a band (Bones Sloane, Dave Mudie, and Dan Luscombe) that’s learned to trust itself to breathe and show restraint at times rather than instinctively douse a song in more scuzz.

An album review by Matt Melis, read by Michael Roffman.

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After 17 years as a solo artist, Stephen Malkmus still has the ability to delight, if perhaps not outright surprise, his audience. Sparkle Hard is at once his most sonically adventurous and structurally tight set of music in over a decade and easily stands among his most rewarding work with the Jicks. Since leaving Pavement, Malkmus has always favored low-key consistency over wild experimentation, but when the results are this good, you can't really blame him.

An album review by Tyler Clark.

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Easily the weirdest record in the Arctic Monkeys' catalog, Tranquility Base Hotel & Casino is a fun, flawed aberration (at least, for now). Even in failure, there's enough to explore within Alex Turner's thicket of lyrics and the haze of this inviting, yet not quite fully realized sonic setting to warrant a few active listens. Getting chemically altered and listening to this in some headphone on a very dark night might be a solid way to pass the time. Just don't expect to be humming anything you heard later on.

An album review by Tyler Clark.

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It’s impressive enough for the dream pop duo to keep making some of the best songs of their career seven albums in, when most bands would be well past their peak. By retooling their sound and shaking off any complacency that may have settled in, Beach House make their claim as one of the preeminent indie rock bands of the decade.

An album review by David Sackllah, read by Pat Freely.

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I Have Fought Against It, But I Can’t Any Longer delivers enough new wrinkles in The Body’s sound to make this a compelling release in their catalog. 

An album review by T.J. Kliebhan.

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The Sciences is the first album from Sleep in 15 years - roughly half newly written songs and half material that was written but not recorded prior to their lengthy hiatus. It's the same primordial rock and roll that drove the band almost 30 years ago, this time buffeted by the lessons they learned over the intervening years in their other bands. 

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Introducing Track by Track - a new podcast feature where we explore an album one song at a time with the artist behind it - discussing the song's origins, tales from the recording studio - every story that brought this music to life.

In this episode, former Fiery Furnace, Eleanor Friedberger, finds the depths of mythology, the absurdity of text messages, and the beauty of human complexity in every moment with her new record, Rebound. For information regarding your data privacy, visit acast.com/privacy

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Dirty Computer is a call for all of us to be our true and authentic selves, but especially women, queer people, and people of color. Janelle Monáe doesn't want to eliminate the oppressor, but rather, help them understand why their views are wrong. Are parties more effective than protests in changing public opinion? Dirty Computer thinks they might be.

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Essential for fans and sporadically thrilling for newcomers, Eat the Elephant is the kind of reunion record that most bands would kill for. While it doesn't court the same kind of controversy as the band's previous political statements, it rewards multiple listens enough to overcome the vast majority of its shortcomings. If you've ever been angry and tired of being angry at the same time, this one's for you.

An album review by Tyler Clark.

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