In an unexpected coda to the indie-lifer trilogy that ended with 2018’s Aftering, the Ann Arbor musician again revisits his youth—but this time interrogating nostalgia, rather than indulging in it.
The musician filed his lawsuit on the fourth anniversary of his Madvillainy collaborator MF Doom’s death. Doom’s widow is also suing Eothen “Egon” Alapatt.
Disney will host the gala and other Recording Academy–produced content for the next decade as part of the new deal, supplanting longtime network home CBS
Stream new releases from the Cure, Mount Eerie, Lil Uzi Vert, Haley Heynderickx, Pablo Skywalkin, Westside Gunn, EarthGang, Freddie Gibbs, VonOff1700, and Thirdface
Sixteen years after their last album, Robert Smith & co. return at their own glacial pace. Sounding regal, weary, and deliciously slow, they grapple with mortality and doubt as only they could.
Sophie Allison’s fourth album is steeped in a loneliness darker than that of her youth, pairing raw reflections on grief with the most laid-back, pastoral music of her career.
On his solo debut, the Iceage frontman experiments with a newfound sincerity and an Americana-inspired sound, searching for beauty in the small and insular.
The teen rapper’s second album of the year is stiff and stuffy where it’s meant to feel rapturous, with flaccid hooks and verses that barely reflect his talent.
On its debut album, a quasi-anonymous UK duo famous for cutting-edge bass music and rascally pranks seeks a balance of mystery, mischief, and unbridled dancefloor hedonism.
A defensive, chip-on-shoulder tone dominates the Australian punks’ third album, threatening to overshadow their freaky experimental flourishes and newfound melodic sophistication.