FLOOD

The band’s fourth album is full of hooks, shifting moods, and cushiony tunes without dismissing speed or ferocity.

The latest from the Canadian emcee finds itself often humorously in a place of connecting the disparate dots of being Black.

The Philly-based ensemble smooth over their rougher complexities and craft a record that’s oddly happy and broadly familial.

His first album for 4AD welcomes a larger musical ensemble, a livelier palate of sound, and lushly verdant vibes that go beyond.

This 6-CD/LP box—including rarities, live cuts, and alternate mixes—burrows deep and handsomely below the surface.

This soundtrack to PBS’s Big Bend National Park doc provides a chill sonic tonic with nature as its somnolent guide.

Director Haynes goes Underground with a documentary on all things Reed, Cale, Nico, and Warhol.

We spoke to the English songwriter on the occasion of his former glam/prog collective’s massive new “Live! In the Air Age” box set.

Barrett’s box set portrays honest, positivist music with a mission far beyond self-gratification or artistic vision. 

The late Hal Wilner’s introduction to the classic LP is as lovely, fall-like, and serene as was Reed’s original entry.

Rather than a simple set of demos and rarities, Costello strips “This Year’s Model” down to its instrumental tracks and goes en-Español.

Everything Josh Shaw does is immediate, off, and odd—like a welcome meeting of Violent Femmes, Kid Cudi, The Cure, and Tom Verlaine.

The debut album from the outsider-rap cowboy is a bold, verbal, and vocal display of what it must mean to be lonely at the top.

This 5-year case study sees the doctor reviving the patient, taking out the bile, and giving him new legs with more tactile treading.

Andrew discusses microdosing, letting go, and his project’s full-circle return to collaboration on his tenth album.

This workman-like all-CD box signals what might be this period’s finest and most uniquely artful one-two punch.

The original Stillwater songs—penned by Cameron Crowe with Peter Frampton and Heart’s Nancy Wilson—are better here, at home, than they were in the theater back in 2000.

It’s in its marriage to the film that this soundtrack is best served; cold and bleakly comical with an operatic repetitiveness worthy of Philip Glass.

The co-star of “Stranger Things” and the new Ryan Reynolds arcade-adventure “Free Guy” talks psychedelia, porn staches, and body-painted costumes.

The composer shows off a mind for menacing, tactile music which meshes the oceanic-winded scale of the elements.