Here’s the beautiful and formless lead single from Björk’s forthcoming follow-up to Vulnicura, Utopia. It’s due out sometime in November, so there’s still time to ponder how much like Tinder the album’s going to sound. (Probably not much.) Update You can watch the song’s
Unbeknownst to me, trumpeter/producer Christian Scott has been having quite a prolific 2017, set to finish out a trilogy of albums with next month’s The Emancipation Procrastination. I was lukewarm on the new-agey Diaspora, but am digging the fusion of vintage jazz and modern hip hop production on
Timber Timbre has bounced back from the disappointingly synthetic Sincerely, Future Pollution with “Les Egouts,” a bilingual loosey that brings back the moody noir aesthetic that I find so alluring about the band.
Pharma is Nmesh’s most hard-hitting and ambitious project to date.
On his sophomore album, Sydney singer/songwriter Alex Cameron consistently delivers catchy hooks and hilarious lyrics while channeling a soft rock aesthetic.
Formerly known as Spooky Black, Corbin returns with a goth-tinged and minimal set of moody R&B tracks.
Alvvays’ sophomore album offers some of the best dream and jangle pop I’ve heard in years.
Zola Jesus’ latest effort may be grand in presentation, but it’s a little light on substance and quality songwriting.
Death from Above slay with a hard rock-inspired direction on their latest album, Outrage! Is Now.
Despite a few questionable features, wifisfuneral’s latest mixtape shows the potential of the current rap landscape on SoundCloud.
