FLOOD

Composed of the avant-garde songwriter’s first four solo records along with live recordings and other oddities, this collection is a wealth of weird ranging from pastoral freak-folk to circus noise.

The threadbare arrangements and starkly poetic sense of woe and wonder found on Justin Vernon’s new EP fit his back catalog like a wooly, moth-eaten sweater.

The rapper-producer discusses her debut mixtape for Capitol and TDE as her tour in support of it kicks off this week.

Like any great party, some of this remix album’s guest revelers are loud and boisterous, while others show up empty-handed.

Producer Kevin Martin’s debut for the metal-focused Relapse Records is a collection of instrumentals harkening back to his earliest work while always opting to go darker and heavier.

The varied atmospheres, moods, and instrumentals prove to be the real highlight of what Warren Defever was responsible for during the four-year period captured within this six-LP box set.

The focus of this 27-disc live collection is how Robbie Robertson & Co. helped forge a rich, rough-and-tumble backing ensemble during the flashpoint of the Dylan-gone-electric explosion.

Repackaged with a 7-inch of demos and nearly 100 pages of photos, the cult Philly pop-punk quartet’s second album remains contagiously catchy and smartly lyrical a decade later.

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.