What makes this music hardcore, a term that has meant many things to many genres, is technical mastery.
Chance the Rapper’s new release, The Big Day, is celebratory and playful, but also wheedling — he wants to convince you that marriage is a good decision.
Woods’s new album Legacy! Legacy! is framed by the presence of a larger community — the enacted community of choir singing and an imagined community of Black artists.
The new albums by these artists all adapt R&B tropes to their own uses.
If you’d told radio listeners in 2012 that the singer responsible for “Call Me Maybe” would in seven years be hailed as an eccentric avant-pop totem, nobody would have believed you, but here she is.
These new releases burn with creepy surprises, rubbery jitters, musical knots, and basslines that run into your arms.
New albums from Mdou Moctar, Control Top, L7, and Gary Clark Jr., guitar heroes all.
Growing up and finding love are conflated as a general spiritual awakening on the band’s new album.
New word-heavy releases from Jenny Lewis, Sir Babygirl, Nilufer Yanya, and Sharon Van Etten.
Eilish’s debut album is an exercise in comic horror.
Conceived as a musical map of Houston, Solange’s hometown, When I Get Home wanders from mood to mood, arrangement to arrangement, a soundscape as cityscape, where songs correspond to locations and melodies merge with memory.
Assume Form is Blake’s first album to acknowledge his status as a pop presence, but it also feels like an attempt to broaden his range, to correct the way he became associated with generic melancholy.