FLOOD

Twenty years have passed since Cornelius’s sugary cut-collage classic “Fantasma,” and the Japanese electronic sound sculptor known for excursions in Shibuya-Kei has grown in ways unimaginable from that elastic landmark.

One of the planet’s most experimental film composers gets out from behind the boards for Dunkirk, a live tour, and more.

Twenty-five years after he released one of the most controversial records in hip-hop history, the LA rapper-turned–family man has regrets—but not many.

Though short and sweet, “Ti Amo” hides something frank, hard, and troubled beneath its lustful sheen and rainbow hues.

There’s buoyancy and shockingly tight musicianship to Black Lips’ prattling-on proceedings here that you won’t often find elsewhere in the garage band’s catalog.

It’s no mystery. It’s not rocket science. It only looks like it.

The oddball, acid-laced soliloquies that characterized Coyne’s Mad Hatter aesthetic from the start are still part-and-parcel of what drives his merry-to-morose ensemble.

The “Uptown Funk” star can be both trite and torrid when it comes to plastic, flossy funk.

On its fortieth anniversary, the sci-fi classic is getting a 4K re-release. Here, the earthlings involved—including cinematographer Tony Richmond and Bowie’s co-star Candy Clark—talk about the moment the star became a man.

Gleeful arts and farts from Detroit’s finest.

Justin Vernon’s latest is a gorgeous victory and a righteous revival of a talent, but does it go as far as those song titles would have you believe?

While still riding the wave of what could possibly have been the greatest run of recorded music in rock and roll history, Neil Young decided to make a movie. And not just any movie. A movie so strange that it barely saw the light of day—until now.

He’s no astronaut, but Michael Volpe know how to scale dizzying heights.

Various Artists Day of the Dead 4AD 7/10 For its twentieth edition in a series of fund-raising various-artist projects, the…

Never before have Radiohead made anxiety such a singular concern, or unease such an agonized-over art form, as they have here.

The man behind the beats of Common and Erykah Badu goes for a robo-flow.

Recently reunited and with a new EP to prove it, Miki Berenyi and Emma Anderson harmonize together once again to talk past, future, and why they would still prefer not to be called “shoegaze,” thank you very much.

That means that every time you see skinny, wrinkly John Hurt tooling around a stolen set of diamonds, Clark’s man-machine ting and moaning musical tones can’t be far behind.

There’s no time for moans or drones on this album—just shouts and kicks.

Tracking the carnivorous rise of the London alt-rock group behind “My Love Is Cool,” one of 2015’s biggest debuts.