
On her latest gothic folk missive, singer/songwriter Marissa Nadler opens up her sound slightly, retaining her grey-skies aesthetic while bringing in a more spacious and rock-oriented sound.

The former Verve frontman returns after a hiatus with another Richard Ashcroft solo album, with all the ostentatious orchestration, bumper-sticker mantras, and cursory electro-dabbling those entail.

Through muscular, chugging guitars and plodding percussion, Nashville's Adia Victoria explores ugly emotional realities with "take it or leave it" boldness.

At 80 years old, Carla Bley remains a vital force as a pianist, composer, and improviser, mixing knowingly wry moments with a sense of mystery.





Exploded View's “Orlando” Is an Art-Rock Fever Dream
British Pop-Punks Martha Turn Melancholy to Bliss


Hear the Deviant “Icky Arnold” From Baltimore Punks Post Pink

With his band Inga, metaphysical musician Sam Gendel ventures beyond the trappings of ego to locate a more contemplative truth.

For a band that’s viewed technology with a skeptical eye, Radiohead have often appealed to people who aren’t afraid to live their lives online.


On Car Seat Headrest's first proper new album for Matador, frontman Will Toledo reaffirms that he is ahead of the pack as an imaginative singer-songwriter, capable of crafting dynamic indie rock.

Post Malone is a rap charlatan for the digital age, and his debut mixtape August 26th is like falling down an acoustic rap cover k-hole.

Head Wound City, a supergroup drawing from members of the Blood Brothers, the Locust and the Yeah Yeah Yeahs, convene for an album of abrasive, low-stakes hardcore.

Tim Heidecker (of Tim & Eric) has released a slick rock record that is also a comedy album, and it is full of all the nervous laughs and queasy vibes of his surrealist comedy.