FLOOD

This collaborative LP places producer Danger Mouse’s lush, tense arrangements and cushiony, snapping beats in the service of The Roots’ lyricist and microphone expert.

The Beasties clean up nice on this reissue of the album that introduced their dirtball brand of insistently stewing lo-fi mixed-bag skronk.

The 1970 film’s OST is one long, funky collage moving jarringly from blues, jazz, honky-tonk, ragtime, rock, country, and R&B without distinction between the lines.

Bey’s seventh solo album is about abandon and joy, something celebratory that hasn’t been in her music since 2006’s B’Day.

Kevin Barnes remains an always-unexpected delight with hints of madness, the morose, and zealous merriment in the air on their latest experiment.

Trafficking in sloe-ginned-up melancholy and soft shoe-shuffling pacing, this collection of covers sees the duo at weird ease interpreting Wilson’s catalog.

Journalist Larry Sloman and vocalist Sharon Robinson dig deeper into their relationship with the song at the heart of the new documentary feature from Dan Geller and Dayna Goldfine.

On this previously unreleased collection recorded in 2001, Young and the Horse do nuance and near silence with the same raging emotion they do noise and propelled rhythm.

Camae Ayewa has created a melodic tone poem with stunning clarity, calm, tuneful choruses, and lustrous complexity on her new album.

For Wire fanatics, this often-coarse collection of Chairs Missing/154-era demos is a necessity.

On the extended mixes that fill the box set, one could argue that the stutter and stretch of Grandmaster Flash at his finest is like listening to Miles Davis transition out of post-bop and into the roar of fusion funk.

This show and its material have long been part of the public ledger, but never with such stunning clarity—you can almost feel Prince’s crushed velvet duster breezing by you from the stage.

15 titles to keep an eye out for at your local indie record shop this Saturday.

The sonic vibe of Mike Hadreas’ latest is an extension of the experimentalism of Set My Heart on Fire Immediately and its earthen elements of chamber art-pop, wonky R&B, spindly goth-industrial, and ever-so-decadent disco.

The Kentucky-based songwriter’s sophomore LP basks in Southern glow with just a little more lean toward ennui and existential dilemma than the scarred specifics of her debut.

There’s a reedy feeling on these B-sides, covers, and primal versions of familiar attacks on aristocracy that highlight Johnny Rotten’s role as the last great rebellious frontman.

Will Brooks—a.k.a. MC Dälek—talks the past and future of his longstanding rap project and the shadow and shade of their latest LP.

The legendary keyboardist, composer, and collaborator to Gil Scott-Heron strikes out on his own for the first time in a minute.

This essential reissue ties together most of what the group recorded in studio and demo sessions after the “Radio Clash” 12-inch—plus their collaboration with late toaster Ranking Roger on a separate EP.

On his latest solo venture, Styles smooths out the influences so prevalent on Fine Line in order to make a brassy and clingingly contagious new album.