Of Montreal Return with Catchy Musical Hooks
There’s enough strong material to keep longtime Of Montreal fans feeling connected while Kevin Barnes continues to indulge wherever their musical muse leads.
There’s enough strong material to keep longtime Of Montreal fans feeling connected while Kevin Barnes continues to indulge wherever their musical muse leads.
LØLØ’s anything-goes approach to rock music and a strong sense of melody make her debut album a winner, even if the lyrical topics get a bit repetitive.
Dublin’s Pillow Queens have a pair of strong singers and solid musicianship, but their songwriting is a bit hit-and-miss on their third LP Name Your Sorrow.
A LA SALA delivers on what Khruangbin are known for: chill, mostly easygoing guitar melodies backed by a deep rhythm section groove.
Phish’s Hoist was their fifth LP and they were in the mood to try new things. Consequently, it felt like their version of a big commercial swing.
The Avett Brothers’ new self-titled album is solid but not spectacular, which can happen after a group have settled into a long-term career mode.
ABOMINATION has a secret weapon: Lynks’ ear for catchy musical hooks. It’s a rollicking record that’s equal parts swagger and self-doubt.
Only God Was Above Us demonstrates that melodic, clean guitars are welcome but optional and that Vampire Weekend have plenty of other tricks up their sleeves.
Indie pop’s Call Me Spinster possess rock-solid songwriting. Regardless of genre, they have a strong command of melody and an ear for intriguing arrangements.
The Dead South’s Chains & Stakes picks up where their last LP, 2019’s Sugar & Joy, left off. These 13 tracks lean toward hard-edged bluegrass and dark stories.
With Blu Wav, their first album in seven years, Grandaddy ask, “What if we just forget the upbeat synth-rock this time and make sad ballads?”
Hole in My Head is full of good songs, and Laura Jane Grace is an excellent songwriter with intriguing lyrical turns of phrase and an ear for catchy melodies.