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Album Review: Tom Misch – What Kinda Music Album Review: Tom Misch – What Kinda Music. What Kinda Music may be sonically incohesive, it's this that draws a listener in, and is an album of ...
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| Album review: 'Impressions in Blue and Red' Over the past decade, guitarist Alex Goodman has performed with a variety of musicians, including saxophonist-flutist Charles Lloyd, pianist Manuel ...
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| Album review: 'Flyover Country' Musicians who don't live in major cities sometimes have a tough time establishing a reputation. But saxophonist Amanda Gardier, who teaches jazz ...
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| Album Review: Nahko and Medicine for the People – Take Your Power Back Portland, Oregon-based, Nahko was adopted at less than a year old by a conservative Caucasian family that introduced him into music and worship, ...
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| Album Review: Charli XCX – How I'm Feeling Now Music in a time of mourning. Charlotte Emma Aitchison, better known by her stage name Charli XCX became internationally recognized back in 2013 ...
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| Music review: Simphiwe Dana's Bamako is a triumph Bamako, the fifth album from Simphiwe Dana, marks 16 years of her recording career. To the dismay of her fans, a few days prior to the album's ...
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Jack Garratt: Love, Death and Dancing review – despair, recovery and reinvention Jack Garratt: Love, Death and Dancing review – despair, recovery and ... time, denizens of the music industry will be asked to cast their votes for the BBC's ... Released in the accompanying publicity blaze, Garratt's debut album, ...
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Album Review: The 1975 – Notes On A Conditional Form When they get it right, Notes achieves the moments of truthfulness and vulnerability that make the band's music loved by so many. The album opens ...
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ALBUM REVIEW: Deerhoof writes post-apocalyptic indie rock with 'Future Teenage Cave Artists' Since forming in '94, San Francisco's Deerhoof has remained a bastion of rock music at its most alien and unorthodox. The indie rock building blocks ...
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| Album review: Hinds – The Prettiest Curse Album review: Hinds – The Prettiest Curse ... carved a comfortable spot of their own at the poppier end of lo-fi, garage rock with their first two records.
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