Trying to describe Lux is as circular as the music contained therein.

Focusing equally on vocal harmony and distorted guitar/bass riffage, Feral is an accurate descriptor for a band as liable to charm as they are to attack.

Dr. Dre’s latest signing is the latest beneficiary of the Jimmy Iovine hype machine.

Defying expectations is risky, but even more difficult for experimental musicians playing pop.

Multi-instrumentalist Anat Cohen (saxophones, clarinets) continues to develop her own voice, with nods to swing and modern jazz.

The Sandpaper Dolls have found their niche in haunting harmonies. That doesn’t mean they’re leaving behind the fundamentals they learned in previous bands.

After four top quality albums of grindcore, Pig Destroyer are still the same riff-intense act, a rarity in a genre that relies more on speed than substance.

I adore Miles Davis’ music, but he was a deplorable human. His art, however, forces a hard line to be drawn between stage or studio and life. Lupe’s no Miles.

There’s something about the deliberate approach of most instrumental post-rock bands that is reminiscent of U2 guitarist The Edge.

With their sophomore album, Australian psychedelic rockers Tame Impala continue to blend avant-garde production techniques with a pop sensibility.