FLOOD

The trumpeter and composer’s posthumous third album seamlessly blends free improvs with a psych-punkish vibe, Latin rhythms, and an opulent sense of string-driven harmonics.

The daughter of João Gilberto takes back her heritage with a tribute to her father that retains the spare, skeletal qualities of her own best electronic-laced work.

Re-released with additional live tracks for its 40th anniversary, the soundtrack to Jonathan Demme’s concert film portrays the band’s command of frenetic rhythm and liquid ambience joined for something uniquely forceful and offbeat.

John Lydon discusses the heavy themes at the center of his post-punk project’s 11th album, End of World.

The new singles/remix collection from the band’s 2009 LP sounds surprisingly modern—glossy in spots, but with a sense of sweaty edginess necessary for the dancefloor.

Kovacs curator Josh Mills discusses his new book Ernie in Kovacsland and the legacy of the early TV and radio figure’s unique comic voice.

Initially scheduled for a 1977 release, this mostly acoustic project is defined by memorably raw melodies and impeccable sequencing—it’s the most potent of Young’s many “almost” LPs.

With her new covers LP alongside Bobbie Nelson out now, the songwriter discusses working with the late pianist, as well as getting her start with the help of another icon of Texas music.

This first-ever all-oeuvre study of the Fleetwood Mac vocalist’s solo music is mystical (of course), fragrant, and funky, all of it aging like fine wine no matter what the vintage.

The vocalist-pianist took no prisoners at her short, sharp 1966 Newport Jazz Festival performance of legend, as can be heard on its first formal release.

The director of the new documentary Have You Got It Yet? and the iconic songwriter discuss the influence of Barrett’s abstract artistry.

The Who drummer Zak Starkey and Happy Mondays vocalist Shaun Ryder discuss bringing the psychedelia of Saturn’s outer rings to your doorstep with their new project.

The Brit-pop quartet play it shockingly and crankily tight, wrenchingly emotional, and wondrously melodic on their ninth studio album.

This collection of Richard’s major-label 45s presents an artist both hungry and haughtily proud, in full-possession of all that made him mighty and unique.

With Basquiat: King Pleasure extending its run in Los Angeles through October, we spoke with the late artist’s sister Jeanine Heriveaux and friend Kenny Scharf about his legacy.

Joining forces with producer Dave Fridmann doesn’t so much surprise as it does add another notch to the nu-jazz saxophonist’s Orion’s belt.

Taken as a conjoined pair of menacing, neo-metal LPs, the aesthetic value of these early-’70s works—newly re-released and sonically punched up—is a meal in and of itself.

Harvey’s first album in seven years is a loosely knotted dreamscape of clanging church bells, thundering drums, and busted-up guitar sounds smoothed over with folk-tronic gauziness.

This collaborative solo record finds the Buena Vista Social Club member at a happy crossroads with his longtime country music influences and something of a freer, silkier sound.

The Scissor Sisters vocalist’s sophomore solo album proves to be an unstoppable force specked with glitter flakes and stardust.