Staff Writer
At a billionaire-hosted field day, the R.E.M. singer and guests performed unexpected versions of Elvis, Petty, and Blondie songs with Chad Smith and Andrew Watt as the house band.
Three decades on, the Quebec band’s second album remains a punishing, high-velocity statement that still sounds like collapse rendered in sound.
The Danish-designed, Far East-built Verve brings a distinctive T-style shape and a mahogany body, but a review unit reveals some assembly issues.
Adam Weiner’s eighth album as Low Cut Connie turns political anger into something communal, pulling from Fred Rogers and Sly Stone to reclaim joy without softening the message.
The latest single from Kamal.’s July debut album maps the emotional distance between home and departure, with Natanya’s voice threading through its sparse-jazz collapse.
The duo’s latest release, ‘THE BOOK for,’ closes a seven-year chapter of music shaped entirely by fiction, as Ayase and ikura look toward a new creative start.
After the U.K. artist drew fresh “industry plant” accusations, Anthrax’s Scott Ian and Exodus’s Gary Holt made their support public — grounding their defense in a specific live performance.
The California punk band has reimagined “Love Story” as a riff-heavy riot, urging festival crowds to form walls of death in pursuit of an unlikely record.
After defeating a defamation lawsuit from sheriff’s deputies, the rapper behind “Because I Got High” is touring as an unlikely civil rights figure—camcorder footage and all.
The Catalan composer’s self-released record, inspired by Joseph Campbell’s hero’s journey, arrives October 9 and incorporates Balinese gamelan.
