A new argument reframes the John Bush years not as an awkward interlude, but as half the band’s story — and maybe its most creatively solid stretch.
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A new argument reframes the John Bush years not as an awkward interlude, but as half the band’s story — and maybe its most creatively solid stretch.
‘Remember the Humans’ reflects on loss, memory, and the people who shape a community, marking a shift away from the triumphant crescendos that once defined the band.
The sixth installment in tsx and Sue Tompkins’ ongoing recur series lands with its peculiar internal logic intact, where phone recordings become rhythmic splinters and melody stays deliberately loose.
The Norwegian trio’s second record, ‘When Does This Place Become Our Scene,’ is loud, direct, and built around honest questions about community.
The latest Standard series RG trades tremolo antics for a fixed bridge and brings a poplar burl finish to a design that hasn’t stopped evolving since 1987.
Subexotic releases an album built from the slow-burn anxieties of the Cold War era, tracing a fragile beauty through synthesizers and measured restraint.
The group’s sweep at this year’s American Music Awards, including wins over Taylor Swift and Bruno Mars, extends a history that started with a single performance in 2017.
A staggered presale, Yondr pouches, and a RAINN donation shape the rollout for Bridgers’ most ambitious solo tour yet, kicking off in September.
The 13-minute short, built around the first six tracks of her forthcoming album, premiered Friday with a packed Beacon Theatre Q&A that veered from cell phone culture to F. Scott Fitzgerald.
The Massachusetts band returns with a new full-length produced by Kurt Ballou, enlisting the former Slipknot drummer and capturing a heavier, more direct sound after frontman Mark Whelan’s leukemia battle.
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