Consequence UNCUT

Care for Me is about the woozy mix of city and family and friends and mental health ... and grief. It’s about needing care and needing self-care ... and grief, it’s about all this and more, but that grief is strong. And maybe it’s morbid to be so interested; maybe it’s emotional rubbernecking, gawping at the wreckage of someone else’s life. It’s a grief we hope to avoid and yet a grief we can't help tasting. Saba makes it near impossible to turn away.

An album review by Wren Graves.

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Virtue delivers a bracing set of experiments and amounts to the most interesting record of Julian Casablancas’ career. The band is allowed more room compared to Tyranny and the quality of the material is benefited from this, sprouting into hoary, genre-bending but ultimately tuneful psychedelic pop and rock music. 

An album review by Langdon Hickman, read by Michael Roffman.

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Four years after the self-titled debut of their PRhyme venture, Royce da 5’9” and DJ Premier reprise the project driven by the compositions of analog revivalist Adrian Younge, with their appropriately titled 2018 sophomore album, PRhyme 2, co-produced by criminally underrated, sample-shy Philadelphia native AntMan Wonder. The 17-track project is a booming treatise in line with Premier’s aesthetic that finds Nickel and Primo extending an olive branch to the mumble rap kings and other rising rap acts, who’ve been openly vilified by a large swath of rap’s old guard.

An album review by Karas Lamb, read by Cap Blackard.

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Jack White’s reverence for classic music of the past is still a big part of who is he here on Boarding House Reach; he’s just shifting focus with a more manic and multi-faceted approach. That’s not weird. That’s smart.

An album review by Lina Lecaro.










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Faced with a crossroads after the deaths of their two famed lead singers (Scott Weiland and Chester Bennington), the DeLeo brothers and drummer Eric Kretz opt to endure, recruiting former X-Factor runner-up Jeff Gutt for a collection of new material that attempts to honor the band's hard-rocking legacy while simultaneously pointing towards a new beginning. 

An album review by Robert Ham, read by Cap Blackard.

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Considering how quickly young bands are expected to ripen to survive in our accelerated age, Sunflower Bean has done a remarkable job evolving from the uneasy steps of their first self-released tracks to this more steady and fleshed-out album.


An album review by Robert Ham.

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The Decemberists are taking a step out of their comfort zone with I’ll Be Your Girl, the band’s eighth full-length studio album, and the results are occasionally thrilling but more often either overdone or underworked.

An album review by Kayleigh Hughes.

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On their debut LP, Williamsburg psych punks Acid Dad polish up the shaggy weirdness of Thee Oh Sees and Ty Segall with occasional flashes of Television's guitar tones and the Stone Roses' grinning nonchalance.

An album review by Tyler Clark.

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On American Utopia, David Byrne isn’t trying to make pop. He’s 65 years old, he’s got something to say, and he’s out of fucks to give. It’s a worthy effort from a living legend, full of songs that are at least interesting and at times breathtaking.

An album review by Wren Graves.

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The eight-track Royalty EP is the final installment in a trilogy of releases from EarthGang - a tie-dyed time capsule brimming with the moments, thoughts, and emotions that might plague any buzz-worthy artist on the verge of transitioning from internet fame to bona fide stardom.

An album review by Karas Lamb.

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