‘Everything Always Changes, For We’re Truly Here’ arrives July 9, tied together by a shared fascination with a single scene from a 1965 Polish film.
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‘Everything Always Changes, For We’re Truly Here’ arrives July 9, tied together by a shared fascination with a single scene from a 1965 Polish film.
The Days Pass Quickly Immersed in the Shadow of Eternity channels the imagination of early humans who first carved flutes from bone. Written for medieval flautist Norbert Rodenkirchen, the record extends Bertucci’s long engagement with psychoacoustic woodwind layering into older, less documented territory.
A blocked 28-year-old songwriter walked into Memphis in 1985. What he found there became a 1991 single that still lands without a hint of nostalgia.
Twin sisters Laura and Linda Good seek a court order to stop Tahliah Barnett from using her performance moniker, intensifying a trademark conflict that has dragged on privately for over a decade.
The post-hardcore band’s self-titled record arrived two decades ago. Next year they bring it back on a headlining tour with Silent Planet, Like Moths to Flames, and Save Us.
The Ghostly International artist returns with a record that finds its shape in the tension between natural decay and digital saturation, never settling for easy resolution.
Fire-Toolz makes her Warp debut with Lavender Networks, a ten-track album in which metal, glitch and ambient drift form one precise emotional transmission.
Jeff Ross confirmed the streaming platform’s first choice was the Beatle, a decision that reframes the special’s comedic boundaries.
Erin Hoagg’s “Mean Girled” rides a sharp bassline into petty personal drama, and she directed its ferry-shot video ahead of the album Attention in late May.
After the first two Boston dates sold out during pre-sale, a third show was added at TD Garden. The remaining tickets on secondary markets already reflect the tour’s high demand.
