Wiki’s major label debut is an acidic and vivid manifestation of his city, at times surreal and too real, with contributions from Earl Sweatshirt, Kaytranada, Ghostface Killah, and more.
On their debut album, the Irish duo Bicep—founders of the blog-turned-party and label Feel My Bicep—offer a lean and consciously paced survey of UK dance sounds with hints of psychedelia.
The first LP from Hype Williams in six years is ostensibly helmed not by its founders—Dean Blunt & Inga Copeland—but by a duo called Slaughter & Silvermane. It’s full of sludgy 808s and cheap synths.
Uzi’s latest project comes very close to delivering on the chaotic, sublime promise of “XO Tour Llif3.” It’s the Philly rapper’s most musically developed work to date.
In the mid-1990s, Alex Chilton entered a Memphis studio to track a collection of deep R&B and pop covers. The results were fascinating and frustrating in equal measure.
Action Bronson’s second studio album is also the third installment of his Blue Chips mixtape series. It’s full of bare raps and funky beats, of unadorned samples and dopey swaggering.
A new compilation of this hybrid Nigerian dance music—popularized in the U.S. by the likes of Drake and Diplo—shows that with Afrobeats, there’s much more than one dance.
On the Florida rapper’s latest project, he’s less measured than he’s been in the past. The moments of transparency are overshadowed by disingenuous storytelling and colorless punch lines.
Now working solo, Liars’ Angus Andrew looks back on the dissolution of his group with a strange, often contradictory album conceived in self-imposed isolation.
With production flourishes from Mark Ronson, Josh Homme leads the band’s most accessible album in decades. It’s equal parts disco inferno and devil-may-care experimentation.