FLOOD

On the future-looking new releases from Dr. Lonnie Smith and Delvon Lamarr Organ Trio.

Overstuffed and unified, this deluxe reissue has all the freneticism of its initial ideal whole.

The EP feels more like a party with friends discussing the nation’s state of shock than it does a staid studio session.

Re-released on red vinyl by Nonesuch Records, this major-label debut is still a delectably odd beauty.

Producer Andrew Loog Oldham and documentarian Mary Wharton contextualize The Poet and The Poet II on the event of the albums’ reissue.

The keeper of the castle that is Jamaican music, Patricia Chin tells the story of her life’s work with “Miss Pat: My Reggae Music Journey.”

Early synth designer-producer Margouleff talks about the late great producer, the 50th anniversary of Tonto’s Expanding Head Band, and helping Stevie Wonder innovate.

Pharoah Sanders and Floating Points have created a vintage vibe noir masterpiece for the 21st century.

“L.W.” is the fussier second half to the brutal “K.G.,” a glistening yin to its toughened yang.

On his first solo record in 30 years, Leary reconvenes Butthole Surfers–style caustic silliness.

This mini-box features fluidly funky outtakes from often-neglected album sessions, together with a mystery recording with George Harrison.

The Anglo-Franco icon discusses the ghosts that fill her recent album “Oh ! Pardon tu dormais…”

Gallo’s latest is more softcore, left-field hip-hop and gentle psychedelia than his usual punk/pop vibe.

The pair’s latest is a theatrical, diabolically abstract, and damningly depressive work with a blinding brightness at the end of the tunnel.

Younge’s bold new music/spoken word LP is his most stirring, politicized, and down-to-earth release to date.

Shaka King’s new movie examines the largely untold story of BPP Chairman Fred Hampton, whose assassination was instigated by the FBI.

Banhart walks us through his new exhibit “The Grief I Have Caused You,” which runs through March 20 in LA and virtually.

All the diversity on the oddly alluring neo-psych group’s fourth record doesn’t always make for great intrigue.

These Southern-rubbed and Philly-styled recordings open the vocalist up to a freedom she never experienced before or after.

Hall, Peter Yanowitz, and Matt Katz-Bohen on their new electronic art-rock noise record “Thanks for Coming.”