FLOOD

At 67, rock’s ghouliest hit-maker finds new thrills—or else.

“Teens of Style” might not be new, but it’s definitely fresh now.

While “Depression Cherry”‘s churchy psychedelic pop is breezy and somewhat open (as if stained glass windows were propped for sun and shadow), “Thank Your Lucky Stars” closes the shades and shutters the glass for a mustier, darker vibe.

The rising eighteen-year-old from Oregon is ready for what’s next.

The Isley Brother sits down for a rare interview and tells us about life as a member of one of music’s most famous families.

“Caracal” is a more heatedly soulful and undeniably slower and touchy-feely release that pushes Disclosure into stranger territories with limitless possibilities in the future.

Oh, and Sumner never got better as a lyricist, but he didn’t get worse. Small victory, that.

“Depression Cherry” is ornery and pretty at the same time.

Raging against the dying of the light with the New Jersey band’s new rock opera, “The Most Lamentable Tragedy.”

Touring the Cuisine of the Mediterranean with Bobby Saritsoglou of Philadelphia’s Opa.

No matter who is mixing, though, Souleyman—still in his familiar shades and traditional robes—is the star, and his poignant vocals are as magnetic as his look is unique.

Get ready to get down like it’s 1995 all over again.

Like Zora Neale Hurston floating existentialist word-jazz over elastic skronk from Sun Ra’s Arkestra, the newest album from Ishmael Butler (Butterfly, of Digable Planets) and multi-instrumentalist Tendai Maraire is far more scintillatingly experimental than its predecessor, Black Up.

The lizardy charms of “Baby’s On Fire,” the blissful “I’ll Come Running,” the jazzy, energized harmonies of Wrong Way Up: it is this Eno that appears throughout High Life.