Electronic beats and dub effects put a heady, psychedelic spin on traditional Ugandan Royal Court music.
With his scrappy indie rock project Turtlenecked, Harrison Smith pens witty lyrics that riff on social media and scene politics. But his second album is often insufferable.
The new 18-year-old New York rapper carves a unique path of searing lyricism through back-alley soul-sampling beats. He examines his youth with an ancient coolness and preternatural technique.
For the ravishing *Moonlight*, Nicholas Britell composed a score that splits the difference between classical and codeine. It’s orchestral music, chopped and screwed. There’s beauty in its glacial pace.
The latest from chillwave pioneer Ernest Greene, aka Washed Out, is a visual album for Stones Throw Records. But it doesn’t say anything new about Washed Out.
This live album is culled from a show late in David’s Bowie’s 1974 tour. It’s heavy on material from *Diamond Dogs* and *Aladdin Sane* and finds a drug-addled Bowie in a moment of transition.
Australia’s King Gizzard have become one of indie rock’s most unlikely and glorious crossover stories of late. Their second album of 2017 pushes towards new levels of raucousness and ridiculousness.
On his first album in 11 years, Compton rap veteran MC Eiht’s no-frills approach hasn’t changed one bit. Executive produced by DJ Premier, the record is a who’s who of 1990s rap.
Colter Wall is one of country music’s most exciting young voices. His debut album is strange and stirring, rarely ever rising above a gentle rumble.
On her third album for Hyperdub, Laurel Halo continues to resist classification and deflect interpretation by treating the human voice like a synthetic material to be molded and shattered.