FLOOD

The collaborators’ ambient soundscape created on the spot in 1998 in Bonn, Germany sounds like a jungle-meets-musique-concrète take on Eno’s 1981 collaboration with David Byrne.

The long-awaited debut from the Fifth Harmony alum is a sleekly chic R&B album that sticks to a one-mood-fits-all soundtrack of listless soul rather than attempting innovation.

Honus Honus’ seventh album maintains the project’s mad experimental dips and tipsy lyricism while venturing into unexpectedly pretty new territory.

50 years after singing on the sole release from the first-ever prison band studio recording, the songwriter talks beginning a new chapter with the help of Brewerytown Records’s Max Ochester.

The third collection of posthumous recordings since his passing in 2016 finds the Suicide bandleader balanced between shocking melancholy and a sense of optimism.

Natasha Khan’s sixth studio album is quieter and sparer than its predecessors as motherhood lends her crowded lyrics and arrangements a new sense of loving poignancy.

The 1979 musical comedy’s director connects the dots between the late cult film figure and modernism with the Ramones in tow.

Ringo Starr discusses getting a little help from his friend Linda Perry on his recent Crooked Boy EP.

The alt-pop songwriter’s intricate third full-length collaboration with her brother FINNEAS explores what it means to grow up in public and find one’s voice, both literally and figuratively.

The Brooklyn-based neo-soul vocalist and composer holds onto the chunky melodic hooks of her recent output while grieving the death of her father and finding room for romance and joy.

A brief guide to the late engineering icon’s most definitive classics.

The brotherly bubblegum duo continues to channel vintage pop figures ranging from Brian Wilson to Todd Rundgren on their fifth album of exquisite harmonies and contagious melodies.

Knee deep in sweeping melancholia and clipped pop songs, the iconic synthpop duo’s latest LP is their most full-blooded effort in over a decade.

The Scary Monsters to 2021’s Young Americans–esque Daddy’s Home, Annie Clark’s seventh album is bleak and noisily unamiable yet somehow surprisingly accessible when listened to in its entirety.

Almost 30 years into their existence, the post-punk revivalists let listeners know that their youthful fire hasn’t dimmed on their fourth, most tightly wound album.

40 releases to keep your eyes peeled for as you descend upon your local record shops this Saturday.

Dabbling in odd, electronically treated acoustic instrumentation, the new-age-gone-wild sibling duo repackages material recorded in the ’80s and released last decade for a new label.

The Houston instrumental trio’s back-to-basics fourth album is a delectably nuanced and subdued listen touched up with open-air production and field recordings.

The blues-rock duo finds the perfect balance of roominess and friction on their 12th record thanks to key collaborations with Beck and producer Dan the Automator.

The composer and multi-instrumentalist discusses his work on the new historical fiction series and his background in American history, in addition to diving into a bit of Dessner family folklore.