Kate Bush’s 1985 embrace of the Other in “Running Up That Hill” resonates with Gen- Z’s ethos by questioning the binaries of our programmed genders.
And You Will Know Us By the Trail of Dead offer a phantasmagorical collection of songs on XI: Bleed Here Now that touch on post-punk, folk, and modern classical.
Melodic carnage, transcendental lyrics, cathartic delivery, and divine communion between Him and his flock are expected and delivered from Nick Cave and the Bad Seeds performing live in Berlin.
From massive hits to experimental pop compositions, Brian Wilson’s music is always thoughtful, idiosyncratic, and as thrilling today as it was in the 1960s.
PopMatters takes a deep dive into Radiohead’s first musically important album, The Bends, where the group’s experimental inclinations initially took flight.
The Bends hinted at Radiohead’s potential, but OK Computer allowed Radiohead the freedom to experiment and started their progression to forward-looking music.
The Smile aren’t a full-on syncretism of Radiohead and Sons of Kemet, but A Light for Attracting Attention proves that it needn’t be.
Creating their most conceptual, theatrical work, Florence + the Machine air out their lockdown grievances and ugly feelings by reminding us all to dance it out.
Humdrum, high and low, the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band sounds like a swirling, strident loss of pre-modern innocence.
The Beach Boys’ Pet Sounds is not a racist text, but its impact was racist because it further encoded rock as a white genre, perpetuating the institutionalized prejudice that relegated African Americans to the margins of rock.
Destroyer’s Dan Bejar discusses the making of the band’s stellar new record LABYRINTHITIS while looking back to his past and forward to what might come next.
Neil Finn has been writing and co-writing songs ever since his first band in 1976, most recently for a rejuvenated Crowded House. Here are ten of his finest.
