The singer-songwriter talks about her new album, her process, and more.
Unlike most ephemeral pop music today, Chris feels consequential and everlasting.
Intimacy may be the most striking thing about this slim but reverently presented recording.
Egypt Station marks a clean break from the music McCartney has been making for the last 20 years.
Raise Vibration is packed with sounds that are appealing, if a little overly familiar.
The album is an attempt to transpose the Spiritualized space-rock orchestra into Jason Pierce’s bedroom.
Collapse’s biggest surprise lies in how warm and inviting it all is.
Despite its flaws, The Crossing is an important chapter in 2018’s cultural conversation.
Lovers Rock both bottles the ardor of the eponymous reggae style and testifies to the force of a deep and resilient love.
The undiminished spirit of Music from Big Pink deserves to be experienced for a lot longer than 50 years.
Big Red Machine feels like a collection of off-the-cuff experiments between friends.
The album thrives when Orbital strikes a balance between, rather than juxtaposes, disparate tempos and textures.
Bloom may be less ambitious than its predecessor, but it frequently manages to do more with less.
By the end of the two-and-a-half-hour set, the entire band was rocking in lockstep.
Hunter is a bold and defiant statement on postgenderism through music that’s alternately elegant and raw.
Negro Swan is Blood Orange’s most assured, accomplished, and significant album to date.
Trite lyrical moments blemish the otherwise pristine musicality of Wild Nothing’s Indigo.
Justice’s Woman Worldwide at times feels like an inexplicable rehash of existing material.
We spoke with Nick Urata about the recording process and bringing his songs to life.
Sweetener is a reflection of Grande’s growing awareness of herself as an artist and her place in the world.