16 years after their original underground classic, Matt Sweeney and Will Oldham reunite for an album that plays like the continuation of a decades-long conversation.
The garage-rock institution rolls on with a loosely conceptual album that is equally inconsistent and ingenious, containing some of Robert Pollard’s most direct lyricism.
On her least country album to date, the Nashville songwriter flattens out the twang and borrows from pop and hip-hop, to mixed results.
Across two long, imperceptibly evolving tracks, the veteran drone duo delivers a pair of luxuriant tonal sound baths.
Everyone from pop stars to metal urchins to avant experimentalists are grappling with the grief and anger that comes with living on a planet careening toward environmental disaster.
One year after their stages went dark, live music workers from across the country talk about what makes their spaces so important and how you can help them.
Dua Lipa also rates Eternal Sunshine of the Spotless Mind, bagels, Bernie Sanders, and more in this episode of Over/Under.
For almost two decades, Dawn Richard has been increasingly beholden to nothing but her own satisfaction as an independent artist. Her sixth album is a decadent testament to her maturation.
The latest album from the Toronto saxophonist, best known for his work with Destroyer, is an inventive work of auditory storytelling exploring his own fraught religious background.
The cartoonist and drummer for the post-punk quintet Pottery explores gently lysergic visions on his psych-pop solo albums.
Refining her approach, the Japanese musician shifts from singer-songwriter confessionalism to open-ended abstraction on this textured, ambient record.