Did I mention Farquar Muckenfuss is a psychotic surf band from the depths of some hidden, secret laboratory?
Empress makes sparse music that’s both unsettling and beautiful.
If you’ve heard all of the hype about this group, and are wondering where to start, this isn’t the place.
Monkey Hearts is better produced than Pony Express’s previous work.
Kistchy yet intense is the correct description of this catchy album.
Fake Brain’s Department of Our Ways is nothing less than refreshing.
Imagine Belle and Sebastian all grown up, writing music for public television specials and working as music professors.
Ultimately, though, the question should be whether or not a compilation like this makes me want to seek out the original.
Easily some of the most creative music I’ve heard coming out of the Christian scene in a long time.
If you come to this album looking for another quick new wave fix, you might be a little disappointed.
Ho-hum, flat, and even downright dull at times
I sense that Goodnight Star tried a bit too hard to create an album with a predetermined sound.
Honest, relaxed indie-pop that might be a little innocuous at times but still comes off as solid and heartfelt.
The Deadlines have taken punk and forced it to be as creative as possible, compared to much of the punk found on Tooth and Nail Records.
The age of electric boogaloo and breakdancing is here once again.
If this band doesn’t effect you, check your pulse because you’re probably dead.
My less-informed-than-some view is that Yo La Tengo are steadily getting more subtle, more heady, and better with age.
William Orbit takes pieces by the likes of Vivaldi and Beethoven, as well as Cage, Satie, and Górecki, and runs them through his bank of synthesizers.
Jon Sonnenberg and Robert Gutschow’s latest is fuller-sounding than its predecessor, but still contains a few inessential bits.
Ween has spawned a blend of their best feats and presented them on one disc.