Émile Zener’s ‘Sumatra Method’ Uses Archival Dread to Indict the Present
The album mines declassified recordings and Indonesian horror to ask hard questions about democracy, power, and historical amnesia.
Staff Writer
Theo Vermeer
Virginia Astley’s 1983 Album Is Summer’s Slow Exhale
Over four decades after its release, Virginia Astley’s pastoral blend of piano and field recordings still conjures the English countryside at half speed.
Job Karma’s Chernobyl-Inspired LP Returns to Vinyl After Nearly Two Decades
The 2007 album, shaped by the band’s visit to the disaster site, gets a physical reissue through Warsaw label Rope Worm.
The Strokes Push Back ‘Reality Awaits’ to July, Announce Queens Stadium Show with Beach House and TV on the Radio
The band’s first album in six years moves from late June to July 24, while an October date at Flushing Meadows Corona Park lines up formidable support.
Garling Wu and Jessie Leov Trace ‘Earthworks’ from Field Recordings Across Continents
The remote collaboration collects sound memories from London, Japan, and New Zealand, then pairs them with a custom fragrance to anchor a quiet meditation on travel and environmental loss.
Overmono Reveal ‘Even Angels Ghost’ Featuring Kindora
The duo’s new single previews August’s ‘Pure Devotion’ LP, built around a Bandcamp discovery and late-night studio chemistry.
Wu-Tang Clan Step Past Farewell, Deliver Halftime Rally for a Desperate Knicks Crowd
During Game 4 of the NBA Finals, the Staten Island group turned Madison Square Garden into a rally, with Method Man closing the set with a blunt “Knicks in 5.”
Three HYBE Girl Groups Take on Digital Toxicity in “ICONIC BY MISTAKE”
LE SSERAFIM, ILLIT, and KATSEYE transform online harassment into a defiant, post-apocalyptic visual—racking up over a million views within two hours.
Rebelution’s Eric Rachmany Looks Back While Moving Forward with “Back in Time”
After headlining Reggae Rise Up Arizona, the frontman reflects on 20 years of crowd connection and a debut single that still draws over 108 million streams.
Takako Minekawa’s Roomic Cube
The Shibuya-kei outlier’s 1994 solo album operates within a narrow, self-imposed set of rules—cheerful melodies that lead somewhere darker, and electroacoustic play that never turns aimless.