The influential indie singer’s experimental third album is at its best when it lets humanity shine through the noise.
The 23 minutes of Please Forgive Me sum up a few 2016 pop trends.
The “Perfect Illusion" video is a chaotic but minimalist crowd-surfing fantasy, and not much else.
Its partnership with Tinder is another unflashy way the most popular streaming service is competing against Apple’s and Tidal’s exclusives.
His debut Mykki injects some yearning into a party-starting formula.
The rapper won’t be pinned down over questions of retirement or racism but still wants the public to see his vulnerability.
“Daydreaming” gets reimagined again and again.
Her headrush of a comeback single makes a bid to revive rock—but not irony.
Her unusually lackadaisical and supposedly final album A.I.M. makes some peace with an unjust world.
"The Greatest” doesn’t feel like charity, it feels like art.
Donald Glover’s new FX show captures the surrealism and the daily grind of a city in the midst of cultural renaissance.
Even her B-sides are reliably great soundtracks for falling in love and going to the store.
The 2016 VMAs gave over long stretches of airtime for pop culture’s 1 percent to flaunt their power—and politics.
Her ninth album, Glory, puts pop’s sex obsession in a new, fluffier context.
Both—and the confusion over Frank Ocean’s album title is sign of a wider rebellion from the artist-against-music-industry conventions.
The singer’s album is not the one that’s been promised, but there’s plenty to dig into nonetheless.
Her bizarre description of Aboriginal Australians emerged shortly after Vanessa Beecroft’s bizarre statements about black people.
For his last summer in office, the president delivers a more eclectic, more interesting, and more seductive set of musical selections.
Chance the Rapper, Sia, and others bring their inspirational A-Games.
After To Kill a Mockingbird, readers didn’t demand more from its author. For fans of the musician behind Channel Orange, it’s a different story.