The British singer keeps a wired SM58 at the center of her live show. It’s the same model Phil Oakey once used in a Sheffield toilet to cut “Don’t You Want Me.”
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The British singer keeps a wired SM58 at the center of her live show. It’s the same model Phil Oakey once used in a Sheffield toilet to cut “Don’t You Want Me.”
The future fusion collective, led by Natasha Agrama and Emilio Modeste, brought tracks from their Stanley Clarke-produced debut to San Francisco’s Joe Henderson Lab.
The six-piece K-pop group return with a hip-hop track built from knocks and doorbells, teasing an album that looks inward at their own journey.
The new single trades the earworm hooks of her previous work for a ballad rooted in emotional candor, framed as an affirmation against toxic relationships that catches the narrator in self-sabotage.
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.
