FLOOD

When he’s not writing experimental synth-folk, Roberto Carlos Lange is breaking new ground in the world of collaborative visual art.

The French electronic music duo welcomes you aboard their alien undertaking. 

If Iggy Pop hasn’t been free this whole time, who the fuck has?

A cool, cutting chronicler of all things California. 

The folk-punk trio’s tenth album is their freest and most existential yet.

On her seventh record, the pop star has gone from playing the victim to taking full responsibility.

The artist born Matthew Urango is a multi-instrumentalist whose punk-rock youth led to his making spaced-out, modern disco.

Indefinable, refined, and weirdly universal.

The late manager of Neil Young and Joni Mitchell went deep with his artists.

Scorsese’s Netflix doc and the newly released live recordings highlight a mythic chapter in Dylanology.

From “Hee Haw” to heavy metal to rock ‘n’ roll, Shooter has it covered.

Springsteen has fused his Asbury Park roots with his rambling man esprit, and brought the whole family out to the Hills of Beverly.

This is Vampire Weekend’s “White Album”—all its baroque catchiness and experimentation in one not-so-neat double LP package.

On the occasion of the LA punks’ first record in twenty years, Sparks explains why getting the band back together—and pissing in hats—is necessary.

The core of TMG talks his upcoming album for Merge and his podcast that’s now in its second season.

The Latinx indie musician talks us through his new album “This Is How You Smile,” out this week via RVNG Intl.

Armed with his Farfisa, his torrid voice, and his Technicolor arrangements, Condon has made his most adult listening effort to date.

Buzzcocks’ first two records with Pete Shelley proved that the band could—and did—maintain dramatic and thematic tension through entire song cycles.

The Northern Irish singer-songwriter and instrumentalist may be the twentieth century’s most fascinating interpreter of other composers’ vocal music.

If not for the fissure amongst the Beatles’ ranks, the lustrous brilliance and weird experimentalism of this collection wouldn’t shine so bright fifty years later.