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Phish: Sigma Oasis
by Sam Sodomsky on 9th April 2020 at 5:00 am
Phish’s instinctive new studio album is a pleasant surprise, a small joy, and an unlikely course correction.
Nina Simone: Fodder on My Wings
by Sheldon Pearce on 9th April 2020 at 5:00 am
Long considered an outlier in her catalog, Nina Simone’s newly reissued 1982 album is an intimate and immense portrait, a culmination of Nina Simone’s frustrations molded into a jarring personal statement.
Sam Hunt: Southside
by Natalie Weiner on 9th April 2020 at 5:00 am
The Nashville star blends genres with charm and style on his first new album in five years, a marker of what modern commercial country can do at its heights.
by Steven Arroyo on 9th April 2020 at 5:00 am
The Chicago singer and multi-instrumentalist leaps fearlessly between voices and sounds. His constant dissatisfaction leaves no question that his true colors are loud and clashing.
Rod Wave: Pray 4 Love
by Alphonse Pierre on 8th April 2020 at 5:00 am
Even as the Floridian crooner becomes a breakout star, his music remains bleak and filled with pain.
by Stephen Kearse on 8th April 2020 at 5:00 am
The L.A. producer’s music is a fog of samples and clips warped into peculiar shapes that defy recognition but prickle with familiarity, like memories from a past life.
Empress Of: I’m Your Empress Of
by Owen Myers on 8th April 2020 at 5:00 am
Lorely Rodriguez’s third album, largely written and produced alone, refocuses her voice into an emotionally and aesthetically rich album of heartbreak, family history, and pop delights.
Cold Meat: Hot and Flustered
by Madison Bloom on 8th April 2020 at 5:00 am
The Perth punks are more interested in recording immediate, energetic punk rock than becoming experimentalists, and they’ve certainly nailed the former.
Thundercat: It Is What It Is
by Reed Jackson on 7th April 2020 at 5:00 am
Three years after his 2017 opus Drunk, Stephen Bruner returns with more fleet-fingered jams and abstracted musings, this time a little more unpolished.
Anna Burch: If You’re Dreaming
by Aimee Cliff on 7th April 2020 at 5:00 am
The Detroit singer-songwriter’s second album is sparser, lonelier, and more patient, allowing the candor of her lyrics to shine through.
TOPS: I Feel Alive
by Adlan Jackson on 7th April 2020 at 5:00 am
At their best, this Montreal quartet locate the aching sincerity in pop clichés.
Michael Vallera: Window In
by Grayson Haver Currin on 7th April 2020 at 5:00 am
The Chicago guitarist and sound artist tucks worlds of deep feelings into these four immersive pieces, which seem to shift with your own mood.
by Aimee Cliff on 6th April 2020 at 5:00 am
The London band’s deeply self-aware debut is worthy of being taken seriously even when it’s not serious.
Yaeji: What We Drew
by Stacey Anderson on 6th April 2020 at 5:00 am
Yaeji’s first full-length mixtape is a subtle, more insular turn for the producer. It plays like a self-issued challenge to strip away the fluorescence, to find what’s underneath pop catharsis.
Purity Ring: WOMB
by Peyton Thomas on 6th April 2020 at 5:00 am
The electro-pop duo’s first album in five years muses on bodies, blood, and a girl’s coming of age; it benefits from the group’s newfound musical maturity and more exacting editorial eye.
Minor Science: Second Language
by Philip Sherburne on 6th April 2020 at 5:00 am
Angus Finlayson’s first LP is shot through with concussive kicks, writhing basslines, and finely tooled drum work. But even at their most powerful, these songs are remarkably nimble.
Herbie Hancock: Head Hunters
by Jeremy D. Larson on 5th April 2020 at 5:00 am
Each Sunday, Pitchfork takes an in-depth look at a significant album from the past, and any record not in our archives is eligible. Today, we revisit Herbie Hancock’s jazz-funk masterpiece, a celebration of all that is modern and ancient.
Paris Hilton: Paris Hilton
by Rich Juzwiak on 4th April 2020 at 5:00 am
The celebrity socialite’s alluringly empty 2006 debut gets a vinyl reissue. It’s a concept album whose concept is: What if Paris Hilton made an album?
Bankroll Fresh: In Bank We Trust
by Jackson Howard on 4th April 2020 at 5:00 am
A posthumous album showcases the late Atlanta rapper’s head-spinning dexterity without attempting anything more than that, both grounded and limited by its avoidance of the usual pomp.
Hot Mulligan: You’ll Be Fine
by Ian Cohen on 4th April 2020 at 5:00 am
The second album from the Michigan emo band feels like a product of another era: itching to cross over, but without anywhere to cross over to.
Little Dragon: New Me, Same Us
by Matthew Ismael Ruiz on 3rd April 2020 at 5:00 am
The Swedish electro-pop group’s first album for Ninja Tune is a welcome departure, finally infusing their own studio work with the creative energy of their collaborative sessions.
by Arielle Gordon on 3rd April 2020 at 5:00 am
The Chicago band’s second album strikes a balance between the spartan chaos of noise rock and the soft melodicism of bedroom pop.
Yves Tumor: Heaven to a Tortured Mind
by Kevin Lozano on 3rd April 2020 at 5:00 am
The iconoclastic artist moves to a plush and magisterial kind of rock music for a gratifying and intense record, one whose pleasures are viscerally immediate.
The Necks: Three
by Colin Joyce on 3rd April 2020 at 5:00 am
More than 30 years into their career, the Australian experimental trio can still make the mundane feel miraculous.
Clem Snide: Forever Just Beyond
by Sam Sodomsky on 2nd April 2020 at 5:00 am
This comeback album, assisted by Scott Avett, feels both charmingly at ease and refreshingly ambitious, grappling with life’s big questions over understated, easygoing production.