The UK rapper’s first album since his disastrous appearance at last year’s NME Awards is split between welcome introspection and all-caps boasting. It’s a refreshingly candid self-assessment.
These live sets between the saxophonist and pianist capture a dialogue between two highly skilled and empathetic collaborators whose reverence for space matches their regard for the music itself.
The UK psych-rockers’ pan-genre approach benefits from a little extra curation and fun. As versatile as they are, their stylistic detours eventually feel like overkill.
Featuring most the magisterial Dusty in Memphis and its lesser follow-up A Brand New Me, plus a bevy of related tracks, a new collection captures one of pop’s most fascinating personalities in her second act.
Singer-songwriter Tamara Lindeman talks about confronting the emotional fallout of looming environmental disaster on her new album, Ignorance.
By publicly identifying and discussing unlicensed samples, hip-hop fans on websites like WhoSampled and YouTube may be unwittingly putting their favorite producers at risk.
Sam Smith breaks down some of their favorite vocal performances in this episode of “Under the Influences”
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 UK duo’s striking 1988 debut, full of noise and bliss and darkness, a crucial document of dream pop.
An expanded reissue of the Band’s charming, loose-limbed album from 1970 reveals its relatively small stakes are inextricable from its charm.
The Massachusetts-based trio featuring guitarist Wendy Eisenberg is a gnarled, shred-heavy, meta-comment on indie rock that also creates some pretty great indie rock songs along the way.
Rallying against aggravating, absurd political realities with passion and humor, the Leeds post-punks offer a tongue-in-cheek counterpoint to dourer contemporaries.