FLOOD

If anything was an enabler of glam pop, it was “Lola.”

JPEGMAFIA keeps it mean while on the major label tip.

The Cornell estate gifts us with 10 subtle covers focused on melodic gems with a soft ensemble as backing.

The filmmaker talks profiling MacGowan, Johnny Depp’s role in the project, and peroxide-haired ’80s punk.

By his lonesome, Richard H. Kirk is still making endearingly intrusive electronic noise with nagging catchiness in its subtle hooks

The Tool and A Perfect Circle frontman and bandmate Carina Round talk the band’s latest record, “Existential Reckoning.”

What we’re excited for on the last weekend of RSD’s pandemic-necessitated four-part event.

In support of his new concert film, Cocker recalls his slow adaptation to live performance and explains his unexpected obsession with caves.

No one’s excesses are as glorious and ornate as Elton John’s.

This recording of Cave’s tearful solo performance offers warmth, elegance, and smart solace.

The reissue of Costellos’ maximal-overdrive third LP manages to sound crisper than its original recording.

Khan’s jazz album is a logical continuation of the merry-making avant-garde that defines every other KK record.

“Knives” is the sound of a pre-pandemic band going for all the weird gusto they can.

The incendiary music-making trio from Colombia’s Caribbean coast fuse Afro-house and Indigenous rhythms with a frank, humanist political stance.

The animated four-piece host the wildest, most guest-heavy apocalyptic party since “This Is the End.”

What we’re excited for on the third weekend of RSD’s pandemic-necessitated three-part event, ahead of its November Black Friday finale.

The industrial hip-hop group’s allegorical monsters are all too real on their latest LP.

Though recorded in a pre-pandemic setting last winter, “Letter to You” feels unusually safe.

The Kentucky-born-and-bred singer-songwriter is shutting down small-minded prejudices.

Garzón-Montano has created one of the most thought-provoking and atmospheric R&B albums of 2020.