The star-studded “cinematic experience” made its debut at Tribeca Film Festival last week.
High Hopes covers a fair bit of ground while remaining generally consistent in quality.
Post Tropical succeeds in proving that music is often at its most compelling when it can’t be compared or reduced to much of anything at all.
If the quest for the self amid rugged terrain and religious- and drug-tinged language is a time-honored American one, Jurado chronicles it guardedly, if not impersonally.
SBTRKT’s latest, which barely breaks the one-minute mark, features Jessie Ware on vocals, as well as his friends Tic and Sampha.
Wig Out at Jagbags is mostly another opportunity for Stephen Malkmus to get his ’70s-stoner-superstar on.
The vocal coupling is less than ideal given that Gaga’s voice on the track is so reminiscent of Aguilera’s in the first place.
Upcoming SNL host/musical guest Drake dropped a New Year’s gift to fans with the Hitboy-produced “Trophies.”
Cyrus continues to mold herself in the image of the straight-male porn fantasy.
If it’s all not quite enough to declare a new golden age, it’s certainly cause to be eager for what lies ahead.
For better or worse, the music video was surprisingly central to the way we thought about music in 2013—for better and for worse.
Hip-hop titans Rick Ross and Jay-Z have joined forces for a new track from the former’s forthcoming album.
“The Monster” is Eminem’s fifth single to top the Billboard Hot 100.
Intentionally or not, Burial might have just released the best Christmas album of the year.
Beyoncé’s new self-titled album takes her (and us) to some mighty weird and exhilarating places.
Alternate/Endings succeeds in leaving you both exhausted and anxious for more.
As our list attests, if album-as-format is dead, it’s enjoying one hell of an afterlife.
Burial’s Rival Dealer drops next week, but you can stream the three-track EP in advance.
Listen to a playlist of the best singles of the year on YouTube and Spotify.
The year’s biggest singles took the pleasure principle to reckless new, solipsistic heights.
A welcome sign of life from an MC who many assumed to be over the hill, and where it fails, it fails on its own terms.