FLOOD

Ten years after debuting in partnership with the Intonation Music Festival, Pitchfork Music Festival celebrates its first decade in Chicago’s Union Park.

Here we go again.

Marking up the commons with Beau and Bryan Abbott of the popular Instagram account @baseballcardvandals

You must have lived hundreds of lives.

Living and dying and what’s in between.

Taken from the “Assed Out” 7″ out on Shea Stadium Records.

Investigating California with eyes wide shut.

The minimalist master considers his life.

A return to Nic Pizzolatto’s entropical paradise.

The king of disorientation reigns at Chicago’s Metro.

“Carrie & Lowell” live is a beautiful bummer.

The group barrel along behind singer Ross Farrar’s lead, building their charge on narrative—not musical—trajectory.

To be sure, the group’s ability to expertly rearrange and synthesize their component parts is admirable, and it’s surprising how many different kinds of stories they can tell using the same words and phrases they’ve always used.

Johan Hugo takes us to Malawi and discusses the band’s new record Makes A King.

Stevens paints a complicated and startlingly intimate portrait of his relationship with his mother, whom he only addressed by first name.

Listening to “Sonnet,” Thomas Meluch’s mostly instrumental fifth LP under the moniker Benoît Pioulard, at times feels like walking into a room recently vacated by Tim Hecker.

The Spacebomb singer-songwriter and producer discusses the inspirations behind his crafted, compelling sophomore record, “Fresh Blood.”

Combing through the archives with label founders Rob Sevier and Ken Shipley.

The grooves of White’s cosmopolitan soul songs gave him enough space to weigh God and the cosmos on “Big Inner,” but “Fresh Blood” is a sharper, more confident record.

Buried in the primordial muck from which Eternal Tapestry rise and build their psych-drone splendor trip “Wild Strawberries” is, yep, a bunch of Phish.