FLOOD

Before Pearl Jam, Devo, and more take the stage this weekend in Dana Point, California, the showrunners share how environmentalism and other important causes remain at the event’s heart.

These factory-line recordings of doo-wop balladry, girl-group pop, and Brill Building sheen show how the guitarist-composer initially developed his melodic songcraft and lovelorn lyricism.

The freak-folk trailblazer’s 1976 debut continues to be a wild-eyed vision of what internationalist traditional music could be when unconsciously unbound to convention.

The melodiously haunting experimental quartet’s full discography of studio albums, rarities, and live recordings highlights their oddly uncategorizable sense of danger and darkness.

Adam Granduciel continues to evolve his septet’s recordings in invigorating ways, injecting a youthful enthusiasm into these live versions as well as an overheated panther’s sense of stalking.

Embodying the perspective of Amelia Earhart, the avant-garde icon teams up with ANOHNI and the Filharmonie Brno to filter hard fact and flighty perspective into one tight audio-verité package.

Five albums into his solo career, the Pink Floyd guitarist broaches notions of mortality with a fresh sound more angled than we’re used to hearing from his endlessly floating solo catalog.

Despite the close proximity of countries like Tajikistan and Uzbekistan, the obtuse neo-disco, rhythmic post-rock, and weird jazz compiled here sound as if they existed planets apart.

The Bad Seeds are freely guided by melody rather than chaos on their 18th album, while their frontman makes something truly joyful from some life experiences that are truly soul-crushing.

The duo’s latest LP is a test of their previously rendered strengths, where the singer’s multi-layered vocal collages become a sliver of sound within Lynch’s off-putting yet unusually beautiful music.

This posthumous release provides a vivid and provocative parting glance at the composer’s expansive body of work—it’s the most alive that any recorded version of Sakamoto has ever sounded.

The grime-encrusted glory of White’s new collection of self-produced garage blues provides an immediate joy that was noticeably missing on both records he released in 2022.

Superchunk’s Mac McCaughan helps us celebrate the life of the New Zealand jangle-pop songwriter, who passed away this week at the age of 61.

This 30th anniversary reissue re-shuffles the deck on the Beasties’ fourth album with a boxset featuring live oddities, remixes, and an overall bigger sound than the original recording.

The author of Unspooled: How the Cassette Made Music Shareable discusses how the ease and affordability of cassettes once democratized the recording and sharing of music.

The psych-soul quartet eschews improvisation for something more focused and melodic, which proves easier on the ears yet often incompatible with their prior clamorous catalog.

The Philadelphian indie-folk troupe’s 12th album sounds like a greatest-hits package, their shiny and remastered best for the goal of optimum woodsy psychedelic crispness.

Everything held within this fabulously gluttonous 30-pound cube is designed to physically portray just what was going on inside the Lennon/Ono brain trust in NYC circa summer 1973.

After losing her singing voice, the folk-rock icon pushes her incendiary brand of writing to new heights and humors on her first record in 11 years, abetted by nearly a dozen guest vocalists.

Under a new moniker, Sturgill Simpson offers up eight cosmic country songs with a new and deeper reverence for space-cowboy blues that don’t stray far from the Sturgill we’ve always loved.