The Washington, DC, indie institution the Dismemberment Plan's final album of their initial run is a masterwork of navigating ...

Anne Carson's oeuvre bridges the gulf between Homer and Gertrude Stein while ignoring, subverting, and toying with everyday ...

Michael Sarnoski’s dying outlaw in The Death of Robin Hood tests, after a remorseful confession, who controls the past.

The whopping tenth album from post-metal standard-bearers Cult of Luna is diminished by the genre's weaknesses but triumphs ...

The Encore, Taylor Swift does little to change the original album's reception, but offers harmless fun nonetheless.

Carlos Saldanha’s 100 Days turns an extraordinary Atlantic crossing into a portrait of a man who seems less troubled by ...

Doveland invokes a place of pastoral calm, perhaps a lost corner of the American plains where folk songs might drift across the landscape. Django Django’s sixth album does eventually find its way ...

Political punks, the Iron Roses' latest collection, Molotov Nights, is their strongest yet, a state of the union that enrages ...

Brixton’s The Windmill is easily the most discussed music venue of the decade. Its 150-capacity room nurtured an eccentric art rock community, birthing now-renowned acts Black Country, New Road, Black ...

The sound of the 2010s was still taking shape. Taylor Swift was moving toward pop dominance. Mumford & Sons was leading a folk revival. Obama-era indie rock was soaring like a Foster the People chorus ...

Little on Dream House matches the sheer brio of Empress Of's earlier music, and it lacks backbone and attention span.