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.
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.
Traditionalism often enables quiet triumphs. Or loud triumphs, if you turn the volume up.
Four introspective new albums depict the outside world in microcosm.
Bhad Bhabie is our era’s perfect musical antihero: a teenager forced into the spotlight, learning to rap as a survival mechanism.
Monáe’s Dirty Computer is an ambitious, politically outspoken, all-encompassing pop-R&B statement album.