FLOOD

In a year overwhelmed with dramatic departures, the profundity of Leonard Cohen’s exit was a little washed over—and may have been all the more appropriate for it.

The Brooklyn power-pop trio have two albums to show for their two years of existence, and wouldn’t you know it, they’re currently batting a thousand.

The current legacy of America’s most complicated movie star has long been defined by a YouTube clip of him jumping on a couch, but—praise Xenu—we finally have something to replace it.

The special session was recorded for the Oregon festival’s latest shebang, with the band touring in support of their excellent new LP, “Dusk.”

When the GOAT hangs it up this weekend, we’re losing a lot more than just a golden voice.

Yes, even worse than Scott Stapp’s Marlins song. Lord forgive the parents who squandered their children’s chance for a normal life by subjecting them to this stuff.

This is quite an achievement from someone who rhymes “all I wanna” with “marijuana.”

A lounge act for the darkest recesses of your mind, Sydney’s latest (and greatest) musical export uses his Secretly Canadian debut to contort into a variety of shapes—none of which may be his own.

Nic Cage movies (and romantic regrets) are timeless, but web design is not.

Fully employed and only occasionally found underneath a bridge, the Internet troll to end all Internet trolls doesn’t mean any harm—but we should probably be taking him seriously all the same.

Mornings are for coffee and contemplation, and cords are for fighting paranormal monsters.

As the album turns the same age that the band was approaching at the time they were making it, thirty never sounded so young.

Put some respeck on his name.

Finally seeing wide release after years of tremulous underground currents, “Jumping the Shark” is a schizophrenic how-do-you-do from a crazily put-together artist.

Home-recorded guitar records are a dime a dozen these days, but rest assured you have not heard one that sounds quite like this in some time.

The fact that McCartney was twenty-three when he wrote “Yesterday” can still spoil someone’s day, so proceed with caution in knowing that these dudes are teenagers.

Forty years since meeting—and thirty-six years since delivering an all-timer in “Crazy Rhythms”—Glenn Mercer and Bill Million remain one of indie rock’s great duos. Ahead of their upcoming sixth Feelies LP, the two New Jerseyans take a look back at their idiosyncratic discography, piece by piece.

Formed out of the dissolution of personal and professional bonds, Max Kakacek and Julien Ehrlich’s new project is a transmission of inner rapids—and their first full-length, “Light Upon the Lake,” is a postcard from the calm on the other side.

Eat our shorts, L&R Group of Companies.

Are you using the solo work of broken-up band members as a rebound? Sometimes, maybe, but take note, Television fans: for a brief moment in 1981, that wasn’t the case.