FLOOD

Domenico Lancellotti’s second full-length is a mix of dream pop and world music, which proves an intoxicating combination.

The album takes all the musicality the duo has mastered to date and builds on it, with “building” being the operative word.

Despite its energy, “Combat Sports” is more than occasionally boring.

Moby’s latest is a bummer, man—albeit a great-sounding bummer.

Craft’s influences of decades-old bombast and glam and down-home folk and blues combine to create a musical atmosphere that feels both modern and familiar.

The duo’s twentieth studio album gives a nod to the variety of musical styles that have been part of the Giants’ palate all these years.

While Manson’s style of hard rock has been both imitated by other acts and eclipsed by other genres since the artist’s heyday in the late ’90s, the prospect of a new MM release is still cause for anticipation.

The OG trip-hopper returns—with help from some Russian rappers.

Like New York back in the day, Vega’s resilience is inspiring—and still a little scary.

Even the simplest songs can benefit from a bit of production.

With “Vol. 1” you banged your head; “Vol. 2” is the dance party.

It would seem that as a well-heeled, seemingly content octogenarian with a legacy approaching mythical status, Nelson wouldn’t need to keep making records, or that he even could still make one as good as this.

The German capital is a city of dualities and dichotomies.

The dexterity with which Moon Duo present seemingly simple riffs belies the complexity of the songwriting—and the difficulty in getting to their destination.

The reissue of the New Orleans IDM duo’s debut is a refreshing reminder of a more cerebral time.

“It was important to me that none of them were victims of the film.”

In his mid-sixties and playing for ever-larger crowds, the New Jersey–based soul singer reflects on how he got here.

They may well deliver a pop masterpiece one day, but “Jessica Rabbit” isn’t it.

While the Glasgow duo’s debut was a bit more coy, the followup is unabashed in its devotion to the guitar.

On “Telling It Like It Is,” Elias Bender Rønnenfelt enlists the services of members of like-minded Nordic punks in Lower, Hand of Dust, and others.