Drakeo’s second project of all-new material since being released from prison is more relaxed and less bitter than his first. There’s a subtext to every flex; he’s been through the wringer, and this is his time to celebrate.
Made in L.A. under the influence of Olympian amounts of cocaine, the heavy metal legends’ fourth album, recently reissued, made room for both light and shade and featured several of their signature songs.
Fifty-two tracks deep, this archival compendium might seem like a catch-all. In fact, it’s a chance to peek under the hood of the multi-instrumentalist’s creative process.
On their third album, Amsterdam’s finest Turkish psych revivalists add synths and drum machines to spirited ’70s standards from the Anatolian funk canon.
In this Rising interview, the New York singer-songwriter talks about making art out of interactions with strangers and how her experiences with the late indie legend David Berman inspired her brilliant new album.
Boosted by the YouTube recommendations algorithm, and now TikTok memes, an American-influenced strain of vintage Japanese music has become a perennial cult hit online. The trend says more about Western perceptions of the East than the other way around.
Neneh Cherry talks about the one song she wishes she wrote, “Across 110th Street” by Bobby Womack.
On this double album, the madly prolific psych-rock band synthesizes everything they do into compact songs that still allow their weirder impulses to flourish.
The Catalan folk duo makes music full of unnameable longing and buzzing with portent. The remixes included, from John Talabot and Mans O, cannot compete with the simple sound of their voices.
Pairing experimental sound design with varied rap and R&B features, the Detroit producer’s hyperpop-tinged LP doubles as a tribute to the spirit of SOPHIE, his late friend and collaborator.
The German producer’s smooth dance-pop is meant to be played under bright festival lights—and it’s never sounded less convincing.