Doug Mosurock
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Ty Segall's power trio heaves forth a 14-song double album that's made for headbanging and the cultivation of bad vibes, as if all the warmth and goodwill of last year's Manipulator had turned to ash.
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As the leader of Wavves, Nathan Williams has spent five albums grafting big emotions onto a restless runaround of energetic pop-punk and stoner fuzz.
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The paths forged by the boundary-pushing Swedish psych-rock band have gotten harder to define, but they're also more rewarding to follow.
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Foxygen's Shaun Fleming aspires to a '70s ideal that rolls up sugarcoated bubblegum glam, soul balladry, Francophone pop and echoes of the Brill Building.
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On its first full-length album, the freewheeling Louisville band plays to classic rock 'n' roll ideals while simultaneously trying to dissolve them in acid.
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On his surprising, complex third album, Gibson outlines dark and alluring tales of horror and despair, human struggle and eternal regret.
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Always provocative, the band jettisons post-punk thrash in favor of a sturdier Top 40 pop sound that recalls the early to mid-'80s.
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If the psych-rock practitioner's goal is to disorient, he's succeeded. But Scott accomplishes it with the tuneful exuberance required to bring so many elements together.
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Squaring up with JEFF The Brotherhood at any time during its career has been mercifully simple: Come for the riffs, stay for the riffs. Hand, make horns. Horns, meet sky.
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On its second album, the D.C.-area duo borrows heavily from the legacy of Dischord Records — at times recalling Fugazi, Smart Went Crazy and Shudder To Think — while still sounding fresh and vital.