FLOOD

The co-director of the new documentary on the outlaw country icon discusses her film and Clark’s influence on her life.

This deluxe edition offers a nice slew of remixes and demos, but its best function is a reminder of how good TPC was the first time around. 

The album functions as a sample pack for aspiring producers, introducing a number of styles that Muggs handles with ease.

Jeremy Earl and Glenn Donaldson construct an effortless cascade of pastoral psych-folk on their debut.

The pair’s second release of 2021 smoothly builds on the chemistry they established on that first tape.

The band talks addiction, recovery, and their hiatus—and how these elements led to their heaviest album to date.

The musician talks grief, her memoir, releasing songs without the pressure of a record press cycle, and her struggle with writing happy tunes.

Yoni Wolf details the impulse and happenstance that informed the band’s fractured new album.

Following the band’s Shaky Knees set, Conor Murphy wrestles with musical and existential questions.

There are fewer layers, less fireworks; every part coalesces quietly.

When they’re not on the road, James Petralli and Steve Terebecki are taking creative control with their own studio.

On “Guns,” the Detroit rapper continues to defy assigned labels.

The first-time filmmaker on becoming a documentarian-of-all-trades—and trying not to miss anything.

Tired of waiting for everyone else to join them, Kool Keith, Dan the Automator, and DJ QBert have touched back down on Earth.

With A24’s latest triumph now in theaters, Stetson walks us through his collaboration with director Ari Aster and the film scores that have shaped his work.

La Luz are turning their garage rock early days into something shimmering and alluring, yet laced with venom and sharp edges.

On her debut solo LP, H.C. McEntire remains an effusive, unrelenting force amidst a shifted landscape.

The Montreal pop duo experiments with optimistic themes on their latest musical cocktail.

The Savages guitarist walks us through the making and spirit of her score for Nick Ebeling’s new Dennis Hopper documentary.

“Ga Ga Ga Ga Ga” is the logical conclusion of Spoon’s commercial appeal and their innovativeness, an effort seamlessly weaving between earworm melodies and genuine experimentation.