Viagra Boys Discover Tenderness in the Grotesque
Viagra Boys’ self-titled album is a gleefully unhinged feat of epic silliness—just as musically brilliant as it is absurd, as willfully brutal as it is carefully constructed.
Viagra Boys’ self-titled album is a gleefully unhinged feat of epic silliness—just as musically brilliant as it is absurd, as willfully brutal as it is carefully constructed.
Heartworms’ Glutton For Punishment is a highly intelligent, essentially perfect album. At 37 minutes long, it’s a precision-cut diamond.
Forty-year-old The Head on the Door propelled the Cure toward arena stature with its musical cohesion and a collection of hallucinatory yet accessible songs.
Coalesced is For Against’s masterpiece, creating cinematic sonic spaces to function as containers for insular expressions of self-doubt, regret, and victory.
Television Personalities’ Tune In, Turn On, Drop Out offers a fresh opportunity to explore the band and their still-unique, seemingly contradictory pleasures.
The Cure’s Songs of a Lost World is a cohesive collection that skews dark, cinematic, meditative exploration of loss in all its forms.
The Loudest Band in the World, A Place to Bury Strangers, draw from seminal, post-punk influences while taking things to new places on Synthesizer.
The start of Nick Cave and the Bad Seeds’ world tour brings transcendence to the German capital and shows there is no taming the Great Bard.
“Alone” is one of the most devastating songs in the Cure’s entire catalogue, evoking an agonizing sense of loss that can deeply resonate with many listeners.
Life is hard, and the world is a dangerous place. The The’s Matt Johnson has never shied away from these realities. He’s as pithy and perceptive as ever.
Belaya Polosa is full of Molchat Doma’s most complex and overtly human music, organically integrated into their melancholy post-punk atmosphere.
Fontaines D.C.’s ‘Romance’ should be considered a high-water mark for them, a work that is equally challenging and considerably more gratifying.