Reintroducing her band as a solo project, Alicia Bognanno follows the tried-and-true: sticky hooks, shoutalong lyrics, and walloping, caffeinated riffs.
The Australian pop singer finds freedom in the EP format, breaking the family-friendly veneer of past releases and serving up his most idiosyncratic music yet.
The post-punk rebel incorporates elements of house and hip-hop while retaining the swagger and rawness of her early work.
The debut from the Chicago trio tempers grandiose experiments with a keen drive for melody and structure, pushing the further reaches of psychedelia without ever losing its footing.
On a rainy morning in early August, we spoke with the singer-songwriter about her raw new album, her process, and the age-old quandary of art versus commerce.
The New Age icon discusses the songs and sounds that have shaped his life—from Sinatra to Sade, Baptist choirs to Sikh chants, and plenty of joyful dance parties in between.
Matty Healy discusses every album by the 1975 in this episode of “On the Records”
Each Sunday, Pitchfork takes an in-depth look at a significant album from the past, and any record not in our archives is eligible. Today, we revisit the stellar rise of Miranda Lambert with her second album, one that laid the groundwork for an artist destined for country superstardom.
Matthew Tyler Musto’s latest album feels like a time capsule for this cursed year, a nauseating sludge of every “Study Beats” playlist and every TikTok influencer’s attempt at writing a hit.
Oh Sees leader John Dwyer indulges his jammiest tendencies alongside a new cast of powerhouse players, channeling a distinctly 1970s sort of communal exploration.
Led by the exquisite brio of Brandon Flowers, the Las Vegas band returns with one of their biggest and best albums, a marvelously absurd collection of synth-rock gems and arena anthems.