Sly and the Family Stone's 1971 album of the same name was a full-on record, reacting to extraordinary times. Yo La Tengo's 15th-odd offering is also a reaction to tense times, but a much calmer one.
The title of Brandi Carlile's new album is a line that recurs throughout the opening track, Every Time I Hear That Song.
Snoop Lion, the Rastafarian reincarnation of Bob Marley we knew so briefly, is dead. Save your prayers.
This is supposedly the final compilation of archived Hendrix material from the period 1968 through 1970.
Twin Fantasy is a re-imagining of Will Toledo's 2011 lo-fi album of the same name, lifting it to new heights.
Moby still uses many of the similar templates that made Play, his inescapable 1999 trip-hop totem, work: airy minimalist soundscapes, clipped trip-hop beats and his mopey Moby mumble set against soothing female voices.
Grown women could sorely use a riot grrrl movement of their own. Because later life still throws out what a disgusted Tracey Thorn, on Sister, recognises as the "same old s***".
There is a disconnect between the cover of Joan Baez's 25th studio album, showing the folk queen (77) beaming and radiant, and its 10 songs about mortality and war.
It's the first time the quartet behind the seminal Last Splash has recorded together since that 1993 smash with Cannonball and Divine Hammer, and the first Breeders album of any kind in a decade.
On the first line of her new album, Lucy Dacus sings: ``The first time I tasted somebody else's spit, I had a coughing fit.''
The seventh LP for the New Jersey trio is a thrilling, energetic set: sequenced like a DIY basement gig and mixed to sound like you're crushed up against the speakers.
Hot on the heels of the latest addition to the Marvel cinematic canon, Black Panther: The Album is a meticulously crafted artefact, curated by rap prophet Kendrick Lamar, bringing to bear his knack...
Musical legends Seiji Ozawa and Martha Argerich are together on record for the first time.
It feels like Craig David’s third act (resurrection, mixed with redemption) depends heavily on his audience’s ability to ironise its enjoyment.
For nearly five years, Mary Gauthier has been working with a Texas nonprofit called SongwritingWith:Soldiers, doing exactly what the name indicates. The result is the first great album of 2018.
Tuscon’s Calexico have long used the wide-open landscape of Mexican American border country as inspiration, both lyrical and musical.
Sweden’s First Aid Kit have always been a bittersweet pleasure.
The hypnotic, experimental art pop of Merrill Garbus’s Tune-Yards project is fused with a dose of very-2018 political wokeness in her fourth LP under the banner.
On the face of it, Texas singer-songwriter David Ramirez’s third album title suggests the anomie of small town Americana, all shut factories and thwarted Bruce Springsteen escapes.
