FLOOD

The road goes on forever and the party never ends.

“August by Cake” is an album stuffed with songs that qualify as demos, half-baked ideas, and snippets, along with a handful of brilliant gems nestled in between.

When he’s not sharing stories about strangers, Marlon Rabenreither spills his guts about his own love affairs, breakups, and what it’s like to be all by his lonesome self.

The Colin Newman–led band is not the same as it used to be fifteen albums ago. And that’s exactly the point.

“The Dollop”’s Dave Anthony gives us the inside scoop for this year’s fest.

On their latest LP, the Cleveland band have realized—or stumbled upon—something lush and lovely.

Ty Segall’s second self-titled album serves as an excellent primer of his career to date—but then again he always is a trickster at heart.

Japanese artist Azuma Makoto turns deconstructed floristry into fine art.

The Los Angeles artist surveys the scene from her Mt. Washington home studio.

The entertainer’s gravitas was undeniable in the glow of the Bowl—his first time playing with a live orchestra.

With tensions at a neck-popping high, the unconventional political convention tries to knead a little levity into the political conversation.

Even before it was shaping the national conversation and hosting sitting presidents, The Daily Show was skewering the way the media delivers the news. Ahead of their panel at Politicon, the show’s creators and early correspondents tell us how it all came together.

Before they became astro creeps, White Zombie were a horror-influenced no-wave group in the New York underground.

With the California sun in his eyes, the dark master of atmosphere and ambience has just released his lightest-ever record, the appropriately titled “Love Streams.” But that doesn’t mean he’s going soft.

All good things come to an end.

Parquet Courts possess a unique skill: making each of their albums sound as if it was their first.

Stirring up dirt in the Joshua Tree desert with Iggy Pop and Josh Homme—the world’s smartest Dum Dum Boys—to talk “Post Pop Depression,” this year’s most devastating rock album.

Ariel Rechtshaid knows how to pick ’em.

With some infectious dance moments in the mix, “A Man Alive” is a complex journey into the soul with life-affirming side effects.

So Pitted pulls the cloth off the table, but instead of trying to execute a magic trick, the band gleefully lets all the dishes crash to the floor.