FLOOD

Somehow lost in the shuffle of Conor Oberst and Phoebe Bridgers’ new release is the duo’s enigmatic chat with a made-up-sounding interviewer, which served as the record’s press release.

Hey, did you hear Harlem’s back? The Tucson–bred garage-rockers who gave us such jangly classics as “Gay Human Bones” and…

With the classic adventure series now freely available to everyone with their parents’ login, let’s take a moment and think about how incredibly bizarre these movies really are.

The Austin psych rock group’s Dan Auerbach–overproduced third record signifies an end to regional music scenes and adherence to aesthetic.

Any man can play guitar—but here are five men who are actually pretty good.

With the release of the two groups’ first collaborative recording, the recent tour mates take their already-public friendship to the next level.

The illustrator and comic book artist walks us through his vision of a world that’s both musical and anti-Seussical.

A long overdue re-examination of the overt sociopolitical themes and genre revisionism of Chris Columbus’s classic vigilante thriller.

Ten of the most undeniably positive—and surprisingly palatable—moments music, film, and the world of memes had to offer.

An investigation into the only category of music entirely defined by its constricting censorship.

Kennedy Ashlyn walks us through her recent West Coast mini-tour with a photo diary.

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.