A bluesy, atmospheric piece that the band improvised live on the air during the Apollo 11 mission deserves to be more than a footnote of musical history.
The singer’s musical accompaniment for the new CGI remake neglects to include any artists from the region that inspired the film—a curious lapse in narrative fidelity.
The Korean supergroup’s devoted following and chart-topping success have won them comparisons to the Beatles. Why was I surprised to get swept up in their magic?
The strummer’s No. 6 Collaborations Project reveals the blend of sentimentality, humblebragging, and hip-hop swiping that has powered his success.
With a new version of “Higher Love,” the EDM star Kygo reworks a 1990 Whitney Houston vocal into a pool-party jam both of its time and out of it.
A graphic depiction of violence has served mostly to offend survivors of such violence.
The artist’s open letter about the sale of her former record label portrays a business matter as a story of bullying and virtue—and others involved have used similarly moralizing rhetoric.
The subconscious is an overdone subject, but the Radiohead singer’s sleep-focused solo album, Anima, is packed with fresh, freaky ideas.
In the fantastical Yesterday, the only person in the world who remembers the Fab Four takes the band’s music as his own. How the film reimagines an iconic oeuvre through a single voice.
The great dance band’s seventh album, A Bath Full of Ecstasy, delivers pleasure while questioning it.
Titus Andronicus’s An Obelisk roars against society, but the front man Patrick Stickles explains that it also represents a journey of self-understanding.
The singer’s pro-gay single strangely compares her struggles with fame to more dangerous kinds of persecution.
The pianist, singer, and songwriter—who died Thursday, at 77—straddled camp and tradition, authenticity and commercialism.
“Rachel, Jack and Ashley Too” simplifies thorny questions about fandom and taste with a familiar story of rebellion.
Two recent projects, a jazz concert about the Great Migration and a book about “wayward” young women, ambitiously recontextualize black life and art in early-20th-century America.
Twenty years ago, as the group’s Millennium album topped music charts, one writer found belonging in an online community she unwittingly helped create.
Megan Thee Stallion’s much-anticipated debut album, Fever, is a remarkable mix of braggadocio, lyrical acuity, and self-awareness.
The singer gets campier and more creative on her fourth album.
I Am Easy to Find sees the rock band involving new voices and a softer approach to evoke indescribable feelings.
Justin Bieber and Ed Sheeran’s “I Don’t Care” joins a growing body of sing-alongs about social anxiety.