FLOOD

The electronic duo’s final album Danceteria will arrive at the end of September.

Embellished with over 20 unreleased demos and session outtakes, the brothers’ 1996 foray into country was as devoted to a single sound as they would ever be.

The Onion’s CEO discusses relaunching Infowars as the satire outlet the one-time right-wing conspiracy hub never intended to be.

The pop star’s guitar-strewn reset is the stuff of savage, searing power-pop with primal, minimalist rhythms and a hint of sleek, sizzling electronics.

The Slowdive offshoot’s five melancholic LPs were remastered to more clearly express Rachel Goswell and Neil Halstead’s vision of hillbilly heartache and dustbowl romanticism.

As gorgeous and grotesque as Christopher Nolan’s sword-and-sandal epic looks on the widest of screens, it could’ve done just as much with a Super 8 camera and a lute.

With a warmer, looser take on anthemic soul-pop, the guitarist and songwriter’s third solo effort sees him move way beyond the reach of The Internet.

Seduced by the sound of sleek American R&B of the early ’80s, Green Gartside fashioned the tone of his band’s second album around irresistible melodies and crisp drum programming.

Reteaming with producer Stuart Price for a sequel to her 2005 nu-disco LP, the pop star capitalizes on the velvet cordiality of her vocals with a sparkling new brand of arrangements.

The alt-R&B vocalist, composer, and multi-instrumentalist talks continuing to grow up fast with her desire- (and guitar-) filled new album Yearnalism.

Its wily wordplay and metal-to-rubber production aided in making the Bay Area rapper’s third album something that was out-of-time back in 1997, and handsomely timeless now.

JID co-founder Andrew Lojero and reps from Los Angeles–based advertising agency TBWA discuss their new program aiming for a more transparent future when it comes to human-made sounds.

Brian D’Addario discusses opening a new chapter with the group’s unexpectedly of-this-world sixth album, as well as how the project has evolved over the past decade.

The country-R&B cult hero crafts an album about the afterlife that’s reflective of decades filled with hurt and hurting.

Kevin Barnes rallies something bracingly emotional on their 20th album in 30 years, sounding more crisply, contagiously, singularly psychedelic than they have in ages.

At once their most even-keeled and explosively hook-crowded album yet, the jam-grinding ensemble’s latest is a stretch toward something uniquely slick and end-timey.

On his first release away from Def Jam, the emcee spends more time looking outward than inward, peering into a communal politic with more rock to his roll than ever before.

The Scottish duo’s first album in 13 years is their most evocative yet, presenting a series of down-tuned tones and dark chordal scores rippling with cryptic samples and robo-voice blips.

The bigness that Jack Antonoff holds on his band’s latest album is dedicated to the human spirit and the hope of something better—and rockier—for our future.

The producer, songwriter, and former Vampire Weekend member discusses his humanist exploration of queer Iranian-American identity on American Stories.