Tears for Fears’ second album is the one sound pop-rock in the ’80s. Its personal psychology, meticulous compositions, and world-sized choruses evoked the loss of control in an overwhelming era.
On their first album in four years, Brooklyn’s Blondes hone in on more overt dancefloor energies while maintaining the dreamy introspection that is their signature.
In 1971, Link Wray reinvented himself and made one of the greatest roots rock albums ever, full of fuzz blasts, gnarled folk, and backwoods gospel. Rock’n’roll doesn’t get leaner or more primal.
Samantha Urbani’s debut is alt-pop with style and nuance. She coats her sound with some retro ’80s accessories, but her real emotions remain grounded in the present.
The London duo incorporate more varied and esoteric sounds to create an album of fun but flawed 1980s-inspired sophisti-pop.
The Manchester band are attuned to the absurdity of our times. The hyperactive synthpop of their fourth LP is full of surreal vignettes evoking our increasingly nightmarish world.
While fitting comfortably into their discography of slinky slow jams, Living finds the Los Angeles R&B duo unsure of how to connect to the vital essence of the genre.
Like a crooner in outer space, Dent May makes glum sounds that sound happy, with old-fashioned panache. But the production of his latest collection is dense and muddled.
The intricate compositions on the band’s fifth album are bound tighter than ever, evoking distant images and emotions that continually shift in and out of focus.
Brittany Bosco’s latest project elevates smooth R&B and Afrofuturism from off the streets of Atlanta with an emotional, bop-heavy set of songs.