The Empty Excitement of the 2025 Grammy Awards
Beyoncé may have broken her curse with fun performances, but the bright Grammy ceremony was undercut by self-aggrandizing acts that fell flat by the end.
Beyoncé may have broken her curse with fun performances, but the bright Grammy ceremony was undercut by self-aggrandizing acts that fell flat by the end.
Born out of the chaos of post-coup Myanmar, Burmese punk collective Cacerolazo’s debut LP rails against the brute forces of injustice and dictatorship.
American punk rock needs a bold new punk ethos. Native Gregg Deal and Dead Pioneers are punk rock’s new conscience.
Jan Akkerman’s discography is vast and ranges from rock to jazz to classical works, several including solo performances on the guitar forerunner, the lute.
Even if the world only knew Alison Krauss from ‘Now That I’ve Found You: A Collection’, her place in country music history would be assured.
With “Record in Iceland” offering 25% subsidization of recording costs, Iceland hopes to support native artists and achieve international notoriety.
Bad Bunny uses nostalgia to spark a connection with the fans and denounce the risks of a future without the people or the culture they love.
James Brown and Prince’s music was loose, wild, and emotional. Yet they knew that you’ve got to be uptight if you want to do funk right.
Through a dystopian plot, Childish Gambino’s final record attempts to narrate his insecurity, as opposed to its raw, uncomplicated exploration in Atavista.
Belly’s rock-oriented follow-up, King, to their dream pop debut, Star, didn’t deserve its fate. It showcases a talented group stretching their sound.
Bright Eyes brought their expansive and messy vision to life 20 years ago with two albums that captivated listeners then as they surely will now.
In December’s best metal, Blackdeath explore off-kilter black metal, Misanthropy open gateways in death metal, and An Axis of Perdition make a return.