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Minnesota-based musician Austin Lunn splits his love of black metal and Appalachian folk into two distinct halves on this double LP.
The L.A. beatmaker’s 11th release on Leaving Records moves between wobbly R&B loops, musique concrète, stoned sonic detours, and E.T.-friendly G-funk.
Detroit rapper Denmark Vessey lives in the haze. His Sun Go Nova is freewheeling and exciting, the kind of hip-hop that breathes.
With his fifth album, the North Carolina rapper aims for righteousness but often ends up sounding self-righteous instead.
Cate Le Bon and Tim Presley sound blissfully removed on their second album as a duo, in a quizzical world of their own creation. This one’s best played late at night.
On this three-track album from Sam Ray’s electronic project, originally recorded in 2014, samples are absent and stillness is the move.
On his first album for Exploding in Sound, this son of Palestinian refugees takes his humanistic blues-folk in a more energetic direction.
On their first album in 14 years, art-metal giants Maynard James Keenan and Billy Howerdel swerve unexpectedly toward gloomy adult-alternative.
Each Sunday, Pitchfork takes an in-depth look at a significant album from the past, and any record not in our archives is eligible. Today we explore the highlight of Jonathan Richman’s rich and varied solo career.
In 2017, the National revisited their 2007 classic Boxer at a show in Brussels, and the set has been packaged for a Record Store Day release. You had to be there...
Lil Pump’s wingman goes through the motions on an aimless, half-baked new 10-song mixtape with “Nice for What” producer Murda Beatz.
This Chicago six-piece plays heavy, proggy psychedelic rock with just the right amount of power-pop sugar to sweeten the mix.
The L.A. psych-soul artist’s first album in more than 40 years is a plodding, overdriven blues-jazz odyssey that feels like a chore.
Hot Chip’s singer sounds caught in an irresistible haze on his latest solo LP, making music that’s more deluxe than usual but far scruffier than his main band.
Presented as a companion piece to last year’s Screen Memories, the John Maus’ latest captures the avant-garde artist at his most irreverent and unguarded.
Across two studio albums and three discs of unreleased live material, the late-1960s Swedish free-music collective goes in hard on repetitive, mind-expanding psychedelic jams.
The second album from the promising emo-rap project of Joe Mulherin is sometimes potent, but it buckles from a lack of conviction.
This live document from 2016 gathers members of Swans, Sonic Youth, and other underground vets to pay tribute to Martin Bisi, the iconic producer whose touch defined the sound of New York noise.
The German DJ offers a spellbinding summary of her sound with this compilation of slow, ominous machine grooves. It’s a cross-section of her record collection, but also a map of a community.
This remix set, based on Glasper’s 2016 album, moves with the freewheeling rhythm of a beat tape. It’s a low-stakes but very fun session.