Newly reissued with bonus material for its 50th anniversary, the Dead’s fourth album returned them to their folk-blues roots and transformed the trajectory of their career in the process.
Lange, better known as Helado Negro, teams with the visual artist Kristi Sword for a sprawling and inspired project paying tribute to the Marfa, Texas sky.
The experimental D.C. duo’s latest album is made up of slabs of textured noise and decayed vocals, but they use their DIY chaos as a radical force against all hierarchies.
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.
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”
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.
Buried somewhere in this overstuffed, 80-minute crew compilation is Gucci’s best album in years.