Doug Mosurock
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On Prosthesis, bandleader Mark Ryan indulges some of his obsessions: vaguely sci-fi-influenced, tightly wound rock 'n' roll, set off by dual drummers and portentous electronics.
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Carrying on the non-stop activity of the last eight years, the prolific rocker's 10th solo album feels as fractured and delirious as anything he's recorded.
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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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The duo takes a few steps toward modernity on Fantasy Empire, which finds Lightning Bolt moving away from congested, low-fidelity sounds in the pursuit of studio clarity.
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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.
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On its second album, the Leeds band is beholden to a motorik beat and the pulse it leaves behind. But Hookworms' members also explore the energy and chaos that such a solid anchor can provide.
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In the wake of Sonic Youth's collapse, Moore's new solo album is almost calming in its familiarity, particularly as it recalls a minor-key update of SY's well-loved late-'90s salvo A Thousand Leaves.
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Meatbodies' Chad Ubovich has learned to put his personal spin on the surf-strum mutant beach party championed by California psychedelic rock bands like Thee Oh Sees, Wand and Bleached.
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On his third album, the D.I.Y. glam-rocker re-brands himself as some sort of demonic teenager. But Black Moon Spell is, at heart, the sound of one guy making sure everyone around him has a good time.
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This rowdy, ramshackle party house of a band is built on the intersecting bedrock of post-punk and indie rock. On Poor People Are Revolting, there's something crazy going on in every room.