Omar Souleyman: Bahdeni Nami
If you’re not dancing or clapping while listening to Omar Souleyman, you’re doing something wrong.
Nathan Stevens
Them Changes: A Conversation with Thundercat
He's the go-to bass mastermind who's anchored already-iconic albums by Kendrick Lamar and Kamasi Washington. For his latest mini-album, Thundercat gets both sad and weird, taking us on a true emotional journey.
Fucked Up: Year of the Hare
Can a 23-minute long track with acoustic interludes be the best punk song of the decade?
RP Boo: Fingers, Bank Pads and Shoe Prints (take 2)
The godfather of Juke comes through on his debut album.
KEN Mode: Success
A little anti-social rage never hurt anybody.
Desaparecidos: Payola
Desaparecidos find giddy joy as they tear the establishment to pieces.
Son Lux: Bones
Son Lux only offers the bones of something once promising.
Heartless Bastards: Restless Ones
Heartless Bastards' dusty, rusty Restless Ones finds so much joy in its detours that it’s hard to argue with its wanderlust logic.
Florence and the Machine: How Big, How Blue, How Beautiful
Florence Welch is still the master of massive choruses, but on How Big How Blue, How Beautiful, she also finds restraint.
Daughn Gibson: Carnation
Carnation finds Daughn Gibson taking scissors to his signature sound, recutting it to a new style all the while keeping his natural waywardness.
Shamir: Ratchet (take two)
On Ratchet, Shamir predicts his own domination of pop music. He’s probably right.
Juan Wauters: Who Me?
Wauters slouches, sighs, and whines his way to goofy charm.