When popular music was still confined to parlor etiquette and artificial formulas, the Rolling Stones chose sweat, volume, and an uncontrollably explosive, bodily Dionysian spirit on stage.
The end of Godflesh is nigh, but with their first album for Relapse Records, the alpha and omega of industrial metal refuse to go gently.
North Carolina's Cor de Lux level up in every way with their third release, Year of the Horse, an exhilarating blast of noise rock with heart.
An exhilarating Friday featuring Wet Leg, Sierra Ferrell, Geese, Turnstile and Charli XCX brings rock back to San Francisco's Outside Lands Festival in a big way.
Distance in Static is like a conversation between two halves of Bonobo's brain. It's a bold statement and shows him finding ...
Ten years ago, Casey released Love Is Not Enough. It fused furious hardcore with atmospherics, dynamic structures and singing. It was all in aid of its sorrow.
A welcome departure for Ridley Scott, slow and contemplative, The Dog Stars is a nuanced work of social commentary disguised as a survivalist film.
In its instrumental simplicity, Land of the Sun is exceptionally vibrant, an album in which Red Spirit Singers remind us that tradition is not only alive but part of today.
The attention economy is built upon passivity. Yet the Sick Man of Europe's music is a pail of cold water to wake us up in the age of complicity.
Nate Amos' most heralded project, This Is Lorelei, swaps out electropop for bluegrass and folk with The Singer in My Band.
A Place for Owls' new album demonstrates the fruitfulness of collaborating with others, whether that looks like leaning on them or borrowing from them.
These ten books are not a poptimist syllabus, but they represent some of the best music writing of the 21st century on pop music.
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