FLOOD

The trio’s third LP sticks to piledriving and fluid rhythms while stoking their flames of melody like never before.

Dylan once again reinvents himself for his first album of original songs since 2012.

Solitude, mortality, and ascendancy make “All Things Being Equal” an unearthly delight.

Together, Bowie and Pop all but forged a raw, sketchy, true alternative sound.

Gaga’s sixth album bathes her in issues of inclusivity—but did it have to make her sound like part of the crowd?

“Expect the Unexpected” pays homage to tradition and opens doors to unlimited perceptions.

The producer and songwriter-for-hire’s new project is mostly just a front for hanging out with Daniel Ledinsky.

Merritt talks Florian Schnieder, dates with Jesus, and writing songs under the 2:15 mark.

“Drip Drip Drip”is as unnervingly varied as most of the Mael brothers work—especially in the twenty-first century. 

The new coffee table book on Roky Erickson’s band is out now via Anthology Editions.

Joan Wasser returns to a poignant form on her first album of deconstructed favorites in eleven years.

He’s produced for Kanye, Beyoncé, and Geto Boys—and he finally has a record of his own.

“Good Souls Better Angels” is one of Williams’ most live-wire works.

The godfather of cannabis culture on his comic past, the smoky present, and living long through Trump and COVID-19.

“Fetch” is as cold as it is overheated, as vibrant as it is humble.

“This is a record from the heart about my reconnection to the planet, and the divine existential nature of it all.”

The reissue’s added tracks are all contextual red meat—no gristle or fat.

The ambitious rapper/producer opens up about his legacy and family.

Cellist Maya Beiser and pianist Mike Garson discuss translating the artist’s work into something new.

Though he suspects he has the virus, EOB’s record remains on track for release April 17.