Rufus Wainwright’s first original album in eight years isn’t so much a reinvention as an opulently crafted highlight reel, a career-spanning sampler of the singer’s many styles and guises.
On a companion EP to last year’s Information, the New York house producer continues to experiment with new styles, but the prevailing mood is one of late-night weariness.
The Buffalo-area MC is a savvy and earnest lyricist, pairing a violent streak with a clear-eyed gaze at the conditions behind her grisly scenarios.
The Los Angeles group’s second album is a soul-scouring emotional purge that sets a new bar for screamo—and confirms the genre as one uniquely suited to a year as harrowing as this one.
With concerts on hold, it’s abundantly clear that most musicians can’t live off streaming income alone. How could the system be fixed?
In this Rising interview, the Little Rock and Los Angeles-based artist talks about being inspired by André 3000, the struggle to be understood, and not giving away her jokes for free.
FINNEAS explores the sounds that sparked his greatest musical breakthroughs in this episode of “Critical Breakthroughs”
Rather than lean into the gimmick of a “bedroom” record, Cloud Nothings’ quarantine album disguises relatively amateur equipment behind clean melodies and power-pop nostalgia.
Buried somewhere in this overstuffed, 80-minute crew compilation is Gucci’s best album in years.
The prolific British pianist-keyboardist-composer’s work is centered on place, partnership, and circumstance. Mostly abandoning jazz, he crafts an idiosyncratic, pastoral opus.
Surviving under capitalism is a drag—it’s the oldest story in rock’n’roll—but No Home captures the weight of its dehumanization in a uniquely visceral way.