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.
The artist’s Death Is Elsewhere conveys an understanding that humans — relatively recent additions to a 4.5-billion-year-old planet — will come and go. The planet will remain.
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.
The live stream of Kanye West’s Coachella “Sunday Service” and the restored Aretha Franklin concert film Amazing Grace offer contrasting portraits of celebrity faith.
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.
An unlikely element of Lennon and Ono’s late-1960s peace campaign was an aural selfie, ahead of its time.