The band announced the decision via social media, offering no details beyond the medical severity that forced them off the road.
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The band announced the decision via social media, offering no details beyond the medical severity that forced them off the road.
The Philadelphia band’s first music since LOTTO finds Doug Dulgarian and Dimitri Giannopoulos trading lines over a shifting guitar arrangement.
The Mexican-born filmmaker’s trance-like Super 8 works screen alongside pieces by his heir Michel Nedjar, bringing a restless avant-garde practice of queer ritual, eroticism, and dizzying motion back into view.
Marc Byrd’s LSD-influenced misreading of a moonrise as the Second Coming led to an album that sheds toxic religion while holding onto the beautiful and true. The result is some of the duo’s loudest, most textured post-rock yet.
Jon Favreau’s feature-length spin-off plays like a three-episode arc of the Disney+ series, complete with a swole Hutt prizefighter and a lingering sense of narrative drift.
The band’s frontman describes the vehicle as a “hood trophy” that marks Mexican-American success and fuels the visual language of their largest shows yet.
The former president writes about listening to Jay-Z and Eminem before debates, and traces a lineage from spirituals to suffrage anthems to civil rights.
Milan-based duo I’m Not a Blonde reframe partnership as 1+1=11 on their fourth album: a bilingual, precisely calibrated electropop record that prizes two distinct voices over fusion.
The artist formerly known as LéPonds debuts a new name and label homes with a single produced by Haley Heynderickx, marking a deliberate return to Persian roots.
The directness behind Olivia Dean’s breakthrough single “Dive” went beyond mere love-song sentiment. It was a rule she set for herself.
