Track Review

Some songs try to sound big by throwing everything at you at once. “Ride the Storm” by Fanny Alexandra does the opposite; it strips things back so much that when something does hit, you actually feel it. It’s the musical equivalent of someone leaning in and saying, “no, listen,” instead of shouting across the room. […]

Some songs ease you in. “USA” by OpCritical just kicks the door open, knocks something over on the way in, and immediately starts arguing with the room. It’s loud, a little chaotic, and very clearly not interested in subtlety. From the first few seconds, the track plants its flag and refuses to move, diving headfirst

“A raw, throat-shredding explosion of post-hardcore angst that begs to be played at maximum volume.” A distortion pedal clicks on and suddenly you are standing in the middle of a crowded basement show. Post Script Philosophy does not bother with a polite introduction on “When I Fall,” opting instead to throw the listener straight into

“On ‘Mohawk,’ veteran producer Glen Brady strips post-punk down to its functional, metronomic chassis.” Scores of disaffected men speaking over wiry guitars crowd the post-punk revival. Yard Act and Fontaines D.C. built a cottage industry out of this specific brand of cynical sprechgesang. Def Nettle, the project of veteran Irish producer Glen Brady, steps into this arena with “Mohawk.”

“Frontman Jaben John Groome enlists a Canadian guitar virtuoso to transform nineties angst into a suffocating, physical weight.” A jagged, downtuned guitar riff carves through the opening seconds of “Many Moons” before the rhythm section hammers it into submission. JBNG frontman Jaben John Groome made a shrewd calculation recruiting Canadian guitar veteran Dave Martone for this collision of post-grunge and alternative

There are two ways to cover a pop song. The first is the karaoke method: sing it more or less the same way, hit the big notes, maybe add one dramatic key change if you’re feeling ambitious. The second is the slightly more interesting approach, where you take the song apart, look at what it’s

“The independent artist leans into the nocturnal shadows of modern trap-soul, trading raw emotion for a numb, atmospheric crawl.” Independent artist Ricky Earlywine enters the fray with “move like this,” a woozy slice of alternative R&B that weaponizes detachment. Rather than offering a booming introduction, he kind of slips in through the back door and