"Probably won't make no money off this, oh well," Beyoncé shrugs on her new album's moody, amorphous second track, "Haunted." And I say this with the requisite curtsy to the Queen, but: bullshit. True, in both content and form, Beyoncé ...

Over six years have passed since Burial’s Untrue, and since then he’s expanded his vision over a series of EPs and collaborative works. He’s often stretched his sound out into 10-minute-plus segments on those EPs, a length he reaches for ...

Erika M. Anderson’s Past Life Martyred Saints was quietly one of the best albums of 2011: lo-fi but cavernous, even its barren confessional tracks sounded weightier than most, while its Lou Reed beat tangents (“California”) hit with artillery force. But ...

Leave it to Annie Clark, forever if possible, to electrify the mundane. Over the past six years, the guitarist, who refers to her forthcoming self-titled fourth solo album as "A party record you could play at a funeral," has become ...

Adam Granduciel writes songs that stretch out over ears, concert halls, long roads, and certainly over time—there's just so much acreage. As guitarist and principal songwriter for the War on Drugs, his 2011 album Slave Ambient came out as a ...

"Like hopping between neon glowing islands on a quad bike while being attacked by whirlwinds of shurikens too sharp to even hurt you mixed with flying kisses from fairy cheerleaders and all of sudden you hear the sound of laser ...

Burial's new EP, Rival Dealer, arrives almost exactly a year after the release of Truant/Rough Sleeper, but the stylistic leaps made on this release are wider, more jarring and revelatory, than anything in Burial's catalog. It's unquestionably the strongest release of his since 2012's Kindred, and his most satisfying statement of purpose since 2007's Untrue.

Death Grips' fourth album Government Plates loudly reestablishes the band as a group freed by having no ideals whatsoever, making music without a past about a present with no future. It isn’t defined by dissonance, volume, or abrasion so much as discomfort, Death Grips trying to figure out how to advance a sound that won’t stay still.

On his second collection of melancholic 80s-inspired pop odes, the 27-year-old singer/songwriter/producer Devonté Hynes, aka Blood Orange, channels vagabond emotions into something universal and inviting. His Cupid Deluxe is an album that tenderly details heartbreak through the language of longing.

Numero Group's Purple Snow: Forecasting the Minneapolis Sound gets to the foundation of one of the most vital scenes in funk lore. Here are the roots of the chart-topping, synth-heavy pulse pioneered by Prince and the songwriting/production juggernaut of Jimmy Jam Harris and Terry Lewis. 

The Rise and Fall of Paramount Records: Vol. 1 (1917–1932), released on Jack White's Third Man imprint and Revenant, is a 22-pound set that comes in a thick cardboard box. At the center of the collection is a drive containing 800 songs from Paramount’s first decade, a period that shaped the landscape for the rise of a recording industry anchored on jazz, rock'n'roll, and country music.

Light in the Attic’s new age compilation I Am the Center doesn’t try and pretend new age music was something it’s not. Focusing on private presses, it starts in 1950, about 25 years before the term “new age” existed in any kind of widespread way, and leads up to 1990, when the genre had devolved into factory-like repetitions of itself.