FLOOD

On Lillie West’s debut for Hardly Art, her recent sobriety and a newfound gratitude for life stand resiliently among Chicago’s freaky music scene.

The Wolf Parade cofounder sends off his latest side-project with his most experimental record to date—and a promise to dive back into the unknown.

Jilian Medford shares ten tracks about crushing (and getting crushed by) crushes that helped inspire Crush Crusher.

If you squint, Panos Cosmatos’s latest psychedelic feature is actually a lonesome martyr’s fantasy to save heavy metal from the Reagan administration’s threatening anti-pornography policies.

In a time when profanity-laden band names have cluttered the blogosphere, TFS’s Gareth Liddiard lets us know which bands are worth of the meatspace they occupy.

Speaking about Vitriola, the band’s eighth album, Tim Kasher reminds us that Cursive is not a solo project.

Aesop Rock or A$AP Rocky? “The Prestige” (2006) or “The Illusionist” (2006)? Ugh. I can’t put up with this anymore: There can only be one.

Talking Sand™ with the comedian’s most devoted fan, who most recently pledged his allegiance by watching a Sandler movie every day for a year.

What initially feels like a watered-down sequel to a totally unique album reveals itself to be an impressive demonstration of dream-pop art brut.

The official unofficial soundtracks to Sam Raimi’s trilogy reflect an odd moment in the history of popular movie soundtracks—namely one in which the soundtracks’ songs don’t actually appear in the movies.

With a musical portfolio as diverse as it is outlandish, the Chicago-based rapper and multi-instrumentalist rightly insists that you could never be a Nnamdi.

The Brooklyn-based group announce their EP II with an Alanis-inspired burner.

“Ordinary Corrupt Human Love” is a plunderphonic expression of a convoluted, black-metal-sized subject: human love.

Between the dregs of Craigslist’s free-stuff listings and “Seinfeld”‘s most obscure moments, there’s always something familiar in the imagery of the NYC-based artist’s work.

[McConaughey accent] That’s what I love about these Linklater protagonists…

A collaboration that is a chilling assessment of our national disharmony.

Behind moments of timidity lurks a menacing DGAF attitude.

The Memphis punks crank out a quick and dirty rendition of their In The Red debut single.

“Perfume” bolsters the staying power of Wand as a rare contemporary rock band unwilling to forfeit their persona to suit the present.

Stuart McLamb’s raucous lo-fi experiment makes up for lost time with two minutes of heavy, blissed-out pop in anticipation of the forthcoming “Baby Grand,” out August 3 via Merge.