The new 18-year-old New York rapper carves a unique path of searing lyricism through back-alley soul-sampling beats. He examines his youth with an ancient coolness and preternatural technique.
For the ravishing Moonlight, Nicholas Britell composed a score that splits the difference between classical and codeine. It’s orchestral music, chopped and screwed. There’s beauty in its glacial pace.
Electronic beats and dub effects put a heady, psychedelic spin on traditional Ugandan Royal Court music.
With his indie rock project Turtlenecked, Harrison Smith pens witty lyrics that riff on social media and scene politics. It’s often charming, but the navel-gazing can just as easily turn insufferable.
Forty years after its release, the ingenious studio gurus behind the robot-funk masterpiece talk about how it came to be.
As President Trump eyes abolishing federal arts funding in the U.S., a survey of tax-supported music from Australia to Iceland reveals a complex, shifting landscape.
He also rates cannabis ice cream, nut milk, and pet scorpions in the latest episode of Over/Under
The latest from chillwave pioneer Ernest Greene, aka Washed Out, is a visual album for Stones Throw Records. But it doesn’t say anything new about Washed Out.
Australia’s King Gizzard have become one of indie rock’s most unlikely and glorious crossover stories of late. Their second album of 2017 pushes towards new levels of raucousness and ridiculousness.
This live album is culled from a show late in David’s Bowie’s 1974 tour. It’s heavy on material from Diamond Dogs and Aladdin Sane and finds a drug-addled Bowie in a moment of transition.
On his first album in 11 years, Compton rap veteran MC Eiht’s no-frills approach hasn’t changed one bit. Executive produced by DJ Premier, the record is a who’s who of 1990s rap.