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 Laurie Anderson’s grand theatrical treatise, an avant-garde piece comprised of sound sculpture and rock music, gender and social studies, philosophy and linguistics.
A decade ago, Lady Gaga created an enormous, bravura flex of electronic pop. An anniversary edition arrives with six “reimagined” versions of its songs by LGBTQ+ artists and allies.
Indie aesthetics have changed considerably in the past two decades, but the UK group is still throwing block parties for a utopia where time and genre collapse.
The 23-year-old songwriter’s debut renders tales of young love and its quandaries with diaristic lyrics and anguished singing. She’s at her best when she’s plainspoken and immediate.
From Doja Cat duets to angsty anthems to hot girl bangers, we take the temperature on 12 of this year’s contenders.
A fixture of New York’s art and experimental music communities, Taja Cheek envisions a decidedly uncategorizable world of sound as L’Rain.
Billie Eilish also rates being a teenager, Avril Lavigne, and more in this episode of Over/Under.
A long-lost recording captures the Ethiopian organist and his band at the Hilton Addis Ababa in 1975, laying down deceptively breezy jazz songs steeped in nameless longing.
The elusive UK group’s third album in just over a year—to be made available online for only 99 days—renders Black trauma in the eerie, sing-song cadences of children’s rhymes.
The noisy, cosmic trio of Philadelphia DIY lifers returns with an unearthed studio album. It’s an upgrade in fidelity and a shit-ton of fun.
The New Jersey singer-songwriter’s five-song EP tries out different frames for her strikingly powerful voice, variously exploring reggaetón, futuristic Americana, and psychedelic club pop.