Shop our Big Takeover store for back issues, t-shirts & CDs
Follow The Big Takeover
To celebrate a decade of sonic disturbance, NYC’s Pharmakon, aka Margaret Chardiet, delivers a full-on assault on the senses in the form of her third full-length.
Blending breezy reggae with brassier jazz/bebop, Ontario’s two-time Juno Award-nominated pianist/singer Wilson’s sixth album is a polished, ear-pleasing pastiche.
Throughout veteran L.A.-based violinist Murphy’s Red Mountain Blues, fiddle, banjo, and mandolin frolic so euphorically, you’d expect an impromptu line dance to break out any minute.
Breakthrough is an album easy to enjoy and hum along to what’s on the surface, but dig a little deeper and you’ll find a work rich in complex emotional content.
In mostly foregoes the hard-driving rock crunch of this Seattle quintet’s 2015 Chaos EP, in favor of subtler, more intricate arrangements that better accentuate the velvety and vivacious voice of frontwoman stayC Meyer.
It took seven years for this Hoboken, NJ foursome to release their first-rate 2014 fourth LP Infinite Regression, so it feels fortunate to have this follow-up come only two years later. At is another alluring album.
Former members of Brooklyn’s Livids reconvene for a scorching debut as Moral Panic.
Jay Som, the project of Oakland musician Melina Duterte, channels her bedroom-produced lovelorn ballads into its first proper LP, proving that headspace and recording space share no correlation.
Berkshire, UK trio Revbjelde deliver an astonishing debut that blurs so many lines between genre boundaries the entire concept becomes irrelevant.
This Long Island, NY/Maryland-based “space drone” outfit is fronted by two hypnotic female singers, Neptune Sweet and Sharon Malkin, the latter crooning in Hebrew. With subdued beats and celestial synths, Shin is a soul-purifying, inner peace-producing pleasure.
Ctrl+Z is one of those special albums that goes beyond being just a collection of songs; rather, it’s an impactful and continuous voyage into beauty, tragedy, and everything in-between.
I doesn’t usher in a brand new genre; rather, it perfects a special type of music that only a few other modern artists can match.
The Long Dark Road may have too much shoegaze in it to satisfy traditional metal fans, but has enough merit to attract newcomers as well as those searching for something a little weightier than normal.
“The title track is an extended mini jam with interesting elements percolating through at different points, but the brilliant use of trumpet is what makes it really stand out! It’s an instrument I love, and it’s so classy.”
In many regards, California Torpedo sounds like a debut album. It’s the work of a band that is still searching for its footing, but it’s also a work of unquestionable merit when the pieces fall perfectly into place.
With its stratospheric synths, encircling guitars, battering ram drums, and baleful, bellowed vocals, Overseas is a revitalizing return from this strapping synth-punk outfit.
Their third and most recent album, Famous Monsters essentially follows the pattern of the previous two, but it finds a band at their peak, and if not, at least very close to it.
Listen to any song from White Oak & Kerosene, and you can immediately sense the dirt caked on Allen’s hands, and the cheap, hard-earned whiskey on his breath.
As a founding member of both The Jam and The Style Council, as well as a prolific solo artist, Paul Weller has done much to help shape British rock’n‘roll.
Following the indistinctive alt-rock direction and too-polished production of their 2014 fifth LP, Do Not Engage, this Vancouver drums-and-guitar duo’s sixth LP is their most exhilarating, explosive album to date.
Melbourne, Australia’s Brad Pot deliver a positively scorching debut full-length that continues the legacy of Oz punk greatness.
Singer Bonomo’s vocals have a timeless soulful quality; not designed to stun with prowess, but commune with an introspective intimacy rare today.
Daring electronic pop noir artist Ramsey enthralls with her darkly rich, powerfully raw, and riveting debut EP.
New Jersey’s legendary The Feelies are back after a 6 year rest, and In Between continues their subdued yet compelling sound.
I’m not sure what prompted former United States of Existence/The Jigsaw Seen drummer Schwartz to reissue this upbeat, Supertramp/Hall & Oates-like 2014 digital single as a 7”. But I still “really like” it.
Despite drummer/founder Joseph Joseph’s replacing of departed keyboardist Molly Pamela with bassist Nicholas Gunzburg as this Cleveland experimental duo’s “other half” in 2015, Junk is as spastic and strident as their previous releases.
On their fourth full-length album, there’s no big shake ups in terms of style, but rather the band continues to explore the darkest corners of their own trademarked sound and expand the fullness of its production.
Shoulder and hand injuries have shelved Atlanta guitarist Richard Coker’s punk and folk career, but his instrumental synth LPs keep coming – Fey is his eighth since 2012.
I described this 20-year-old Columbus collective’s 2009 second LP More Fiend as “ominous, trance-inducing space-rock, with hints of metal, psychedelic, and Eastern influences.” That could similarly sum up this new six-song, 43-minute fourth.
In the 1920s and ’30s, Hayes McMullan played blues around his home in the Mississippi Delta.
Nomadic songwriter Wilson Getchell (Wall-Eyed) lands in North Carolina to form the perfect band for his eclectic talent.
On their debut EP, Ocean Blues, this band from Bristol, UK manages to combine the sunniest of vocal harmonies with the gloomiest of Gothic melodies.
“Robert excels at everything he touches, ranging from chiming jangle pop and on to gritty post punk. His work always is a standout, and his voice is unmistakable.”
Never ones to stay quiet for long, Los Angeles rock’n‘roll heroes Dr. Boogie drop a song into cyberspace just to remind us that they’re still kicking.
For those still tentative about diving into this atypical, atmospheric Bristol, PA trio’s 2016 fourth LP This Gilded Age, this double A-side 7” of two of its tunes is a tempting toe-dip.
Music Under Sea has neither an entire foot in the music of the 60s or the pop today it inspired, but will nevertheless have fans who love either.
Birmingham, AL’s Remy Zero released three major label LPs during their original 14-year run, before disbanding in 2003. This new trio comprises two original RZ members, along with their touring guitarist/drummer, and preserves RZ’s penchant for brawny alterna-rock.
Brooklyn-based alternative rock band Vaureen displays its captivating range with a 3-song cycle of psych-rock, sludge rock, and shoegaze-tinged post-rock.
Texas-born-and-bred Bell again avoids modern country clichés on her fifth LP, and first since 2010’s Perfectly Legal: Songs of Sex, Love and Murder.
On this hard-hitting new single, about serial killer Aileen Wuornos, London’s provocative, powerfully-piped Distras breaks free from stringent punk structures. It blends a ‘60s British Invasion/Merseybeat and girl-group sound with more contemporary, crunchy power pop.
Holbrook, Long Island’s Foresterr brave the fashion punks, cover bands and emo-kids-who-think-they’re-hardcore dominating their local scene with an uncompromising brand of spastic noise rock.
On his debut album, Too Close to the Noise Floor, released last year, Antony Walker effortlessly combines the weirdness and constancy of The Pixies with the larger-than-life pop of XTC.
Madrid, Spain’s Biznaga deliver their first domestic LP of punk rock en Español just in time for the leader of the free world to announce his war against the majority of the Spanish-speaking world.
Alien Angel Super Death doesn’t willingly give away much at first, but it generously rewards listeners who readily approach it with complete emergence.
King Ropes, an indie garage band from Bozeman, Montana, effortlessly couples the inventiveness of The Pixies and the alternative country twang of Wilco with remarkable results.
“Witness the gorgeous opener “Amaris”, which will thrill dream pop fans and remind you of late period Engineers. Rich with melody and grand passages, it is crammed with sparkling notes that chime pleasantly in your ears.”