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Turnstile lean into their hardcore roots for their most progressive record yet

by David Anthony

Traditionally, when people say hardcore bands have “progressed” it means they’ve begun the slow process of abandoning the genre for something more accessible. Plenty of hardcore bands have started slipping into 90s alt-rock territory, but Baltimore’s Turnstile use their new album, Glow On, to draw out the fact that heavy radio-friendly rock was built on […]

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Baltimore postpunk trio Quattracenta evoke myriad emotions on their new second album

by Jamie Ludwig

For their new second album, Baltimore postpunk trio Quattracenta teamed up with producer J. Robbins (Jawbox) and the Brokers Tip label, owned by Bob Nastanovich (Pavement, Silver Jews). Those familiar names aren’t the band’s only nods to the 90s—their sound draws on Slint and occasionally the Jesus Lizard—but II doesn’t feel pinned to any one […]

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Baltimore indie group Lower Dens use synths to navigate a complex world on The Competition

by Leor Galil

Lower Dens emerged out of Baltimore’s fertile underground music scene in 2010, and they’ve since built a catalog of immersive, slow-boiling indie rock elevated by Jana Hunter’s inviting, resonant vocals. During the first half of the 2010s, they dropped three albums, which makes the four-year gap between 2015’s Escape From Evil and last year’s The […]

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JPEGMafia offers an escape from single-genre monotony on the eclectic All My Heroes Are Cornballs

by Matt Harvey

On his new third studio album, All My Heroes Are Cornballs, Brooklyn-born, Baltimore-based hip-hop artist Barrington Devaughn Hendricks, aka JPEGmafia (Peggy for short), offers an escape from the monotony of music that’s restricted by genre. Hendricks dives headfirst into his attention-deficit-fueled opener, “Jesus Forgive Me, I Am a Thot,” which is the album’s most concise […]