FLOOD

A testament to unbridled creative freedom—a concept album such as this one could easily take a turn for the bizarre, yet The Lemon Twigs are able to keep it witty and lighthearted.

The Netflix special is already a comedy hit—but it has a dramatic turn.

A mind-bending, immersive work, providing a glimpse inside Melody Prochet’s labyrinthine imagination.

Even the simplest places—an abandoned Amtrak station or a city diner—are made significant and evocative.

Amongst the chaos of its busy cities, Japan has been quietly preserving and perpetuating a loyal jazz culture for decades. For an American, it makes visiting feel like going home.

“I’m Bad Now” presents itself as a self-examination, asking some existential questions and often leaving them unanswered.

On “The Thread That Keeps Us,” Calexico wrangle our collective fears into something borderless. 

Aaron Maine’s latest as Porches seems to argue that truth is most often found alone.

For Baths, self-exploration—and at times self-deprecation—is packaged with a saccharine exterior. 

“ken” contains an undeniable nostalgia infused with an anxiety and uncertainty that has come to characterize 2017.

On their sophomore effort, the British band exudes intention and confidence.

Emily V. Gordon and Kumail Nanjiani’s film isn’t just about loving your partner.

On their sophomore effort, the London group seems to have grown into their trademark chaotic compositions—instead of shying away or going halfway, they fully embrace it and even add a little more flair.

As he entered his thirties, Chaz Bear found himself in the midst of an identity crisis.

At the center of the Toronto collective’s first album in seven years is a dedication to hopefulness and unity, even during a time when the world seems increasingly divided and unfriendly.

The best episodes of “Master of None”‘s second season aren’t the funniest, or the ones that leave you on the edge of your seat; they’re the ones that are brutally, undeniably, painstakingly real.