…includes two bonus tracks: Mitski’s covers of One Direction’s “Fireproof” and Frank Sinatra’s “I’m a Fool to Want You” previously only available on compilations.
Based in Brooklyn but with an unsettled background that called over a dozen countries on multiple continents home before she reached her twenties, Mitski Miyawaki makes her Dead Oceans debut with her fourth album, Puberty 2.
Her background is not irrelevant here, as the album reflects her own, very personal — and intentional or not, her generation’s — crisis of belonging as she recounts stories of navigating young adulthood in the City. A visceral work that shares the immediacy of classic punk and confessional singer/songwriter fare at once, Puberty 2 takes…
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When 
In the grand tradition of left-of-center rock bands, 
When considering the title, one might imagine the answer as “sound,” as the post-rock collective 
Unexpected encounters often yield unexpected results. It is easy to get lost in 
A lot of life can happen when nothing’s going on. As the years tick by, landmarks become less regular. Highs become less vaulted. Lows become less abyssal. There’s a reason that posting to social media is mostly a younger person’s game. It’s not that less becomes less exciting or moving, it’s just less flashy. Most of life tends to happen in those quiet periods, which we far too often write off as boring, which, in turn, makes us feel bad about our lives, as if we’re not living up to the influencers we could be.
…compiled by Robert Fripp, including Brian Eno, David Sylvian, Andy Summers, The League of Gentlemen and more.
If you were going to go looking for rough but melodic bands, you might very well start in Ohio. That’s where the granddaddy of them all — Guided by Voices — got its start, not to mention the Greenhornes, New Bomb Turks, Times New Viking, Cloud Nothings and many, many others. There’s something about flat, fertile, churchy Ohio that encourages rebellion, even oddity — remember Pere Ubu and Devo came from here. But there’s also a midwestern full-hearted-ness in even the most confrontational of bands. There’s ragged soul in ragged riffs here, and if you want evidence, look no further than Smug Brothers.
Dea Matrona have returned to the limelight with their sophomore album Hate That I Care. Written, self-recorded and self-produced entirely on the road, this 12-track body of work vocalises the 10-year history of Mollie McGinn and Orláith Forsythe – from busking on the streets of Belfast to opening for The Beaches, and every story in between. Hate That I Care represents the intrusive thoughts that haunt every listener; the self-reflection, the self-assessment and the choice to stay silent or do something with that self.
There is something deceptive about The Chauffeur. On first listen, 
…featuring a previously unreleased demo, alternate versions of much-loved album favorites and a cover from the sessions for their seminal debut album.
…four new tracks: new single ‘Should’ve Known Better’ joins unreleased songs ‘Perfect 10’ and ‘Hypothetical’, plus an acoustic ‘Lesbian of the Year’.
Kosmiche krautrock mainstay Harald Grosskopf operates at full wingspan on a new raft of astral-planing arps and motorik pulses laced with wistful extended melodies and atmospheric sleaze, together with a titular nod to Miles Davis’hinting at the album’s underlying theme: the productive friction between man and machine.
It seems obvious and trite to say that 
San Francisco trio