1959 saw the release of Orfeu Negro (Black Orpheus), a foreign film that reimagined the myth of Orpheus and Eurydice in the setting of Rio De Janeiro during Carnival. The
Corridors represent a new chapter for drummer/composer Kendrick Scott who returns for his third Blue Note release
In the latest Wannabe, artist Chris Prunckle offers his illustrated commentary on Should’ve Learned By Now, the new album from Memphis alt-country rockers Lucero, in his signature six-panel comic strip form. Click
If you’ve ever wondered what Nick Cave fronting Morphine might sound like (and really, who hasn’t?) chances are it would be a lot like Whitney Walker’s latest, A Dog Staring
U.S. Girls, the experimental art-pop project of Toronto-based musician Meg Remy, has never been easy to pin down; shifting and evolving their sound with each album while Remy explores and toys with the nature and content of pop songwriting
The enduring Australian band’s twenty-sixth album, The Hypnagogue, might well be termed a return to form, except that, even as it incorporates new recruits, the band picks right up where it left off with 2017’s Man Woman Life Death Infinity.
Those familiar with the legendary bassist Buster Williams likely think of him in terms of his associations with Herbie Hancock, McCoy Tyner, Art Blakey, Miles Davis, and countless others. To
Shame’s third album Food for Worms is the invigorating third LP from shame and captures the band at a moment where they finally seem at peace with their newfound fame
On their latest release, Cracker Island, Gorillaz continues to dive headfirst into entirely new worlds and this time around, it’s more scenic than ever.
Death Valley Girls have softened musically with each release, adding more pop influences, and digging more into the spiritual hippy cosmos of the we-are-all-in-this-together vibe. They also have continually improved, as Islands in the Sky is their best album to date.
