Angry, righteous and redemptive, The Last Days Of Oakland celebrates survival, as Xavier Dphrepaulezz infuses his songs with hard-bitten perspectives on life, love, art, commerce, class and society.
Rubinos returns fully formed, with her musical vision still finding ways to meld the unexpected, the familiar and, in songs like “Mexican Chef,” the fiercely political.
On his fourth solo album, the Americana singer-songwriter considers the tilted fulcrum of a dissolving marriage in order to confront the allure and the cost of restlessness.
On the guitarist’s new album, Tyler’s instrumentals stretch past the limits of most lyrics and approach a rare sense of mystery.
Jessica Weiss exudes ambivalence as a singer, but the arrangements around her billow and bloom. On Fear Of Men’s second album, darkness and light fuse to form multifaceted gems.
Ileana Cabra Joglar came of age onstage, performing with her older brothers in Calle 13. Now, she emerges from their shadow with her solo debut, a collection of classic sounds.
On its debut album, Big Thief sounds warm and muscular, with moments that comfort and explode nestled closely together.
On her first album in nearly four years, the singer-songwriter returns to the beat-driven sound that made her name. The result functions as both a yearning journey and a well-earned victory lap.
The Toronto punk band sounds anthemic and unhinged on its second album, with shout-along pop songs that are at once communal and cathartic.
Obama commended the country’s prolific metal scene while speaking with European Nordic leaders. “Finland is making the weirdest heavy metal imaginable,” Decibel editor-in-chief Albert Mudrian says.
Listening to Adrian Quesada’s latest project is like stepping into an alternate reality — an unhurried place with time to contemplate love, loss and longtime friends.
On his new album, the Canadian singer-songwriter crafts a batch of connected vignettes, offering up tiny observations from a single night.
This is the second volume in which Dylan sings the Great American Songbook, recorded at the same time (and with the same core band) as his 2015 album Shadows In The Night.
Tom Petty’s old band returns with a cleansing wash of classic rock, crafted with just the right touch of sweet-natured sentimentality.
The Brooklyn rapper-producer’s latest instrumental album is evenly weighted from front to back. There’s never an off moment — or even a precarious one.
Barwick’s songs are musical inkblot tests: The voices trickle in and out, but never quite materialize into lyrical coherency. So it’s up to the listener to interpret them and ascribe personal meaning.
On her 14th album, a collaboration with top producer Dave Cobb, the country veteran traces her memories while still looking toward the unknown.
Singer Kacy Anderson and fingerstyle guitarist Clayton Linthicum carve out plenty of room for play in their take on British and Appalachian folk and pre-electric blues.
On the Louisiana band’s first album, blues, classic rock and gospel come together with concision, force and a punk-rock heart.
The popular jazz singer follows a familiar pattern on his new album: It’s acoustic, unconcerned with fashion or complexity, and both overpowering and soothing. That’s a good thing.