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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 revisit Fiona Apple’s second album, full of diamond-sharp writing that mines the depths of her psyche and emotion.
Author: Judy Berman
Posted: March 24, 2019, 5:00 am
USA/Mexico are sludgy, nasty, and unclassifiable, meaning they fit perfectly into Austin's coterie of noise-rock misfits.
Author: Andy O'Connor
Posted: March 23, 2019, 5:00 am
On her first commercial mix album, the producer crafts an unbroken stretch of shapeshifting grooves and psychedelic fireworks.
Author: Philip Sherburne
Posted: March 23, 2019, 5:00 am
On her new album, Tamaryn aims for sky-high '80s-goth melodrama.
Author: Sasha Geffen
Posted: March 23, 2019, 5:00 am
This lost Prefab Sprout album, previously issued as a Paddy McAloon solo LP, finds the singer receding into a vivid dream world unlike anything in his catalog.
Author: Sam Sodomsky
Posted: March 23, 2019, 5:00 am
A new six-disc box set featuring performances from the late ‘80s and early ‘90s offers the definitive document of the latter-day Jerry Garcia Band.
Author: Jesse Jarnow
Posted: March 22, 2019, 5:00 am
The rapturous debut from the British singer-songwriter takes adventurous pop-rock crucibles to new heights with her illusory songwriting and stunning voice.
Author: Laura Snapes
Posted: March 22, 2019, 5:00 am
On their fourth album, the visionary English experimenters conjure a sinister and beguiling new world.
Author: Brian Howe
Posted: March 22, 2019, 5:00 am
After snagging everyone’s ear on Kendrick’s “LOVE.,” the 22-year-old TDE signee Zacari struggles to hold our attention.
Author: Michelle Kim
Posted: March 22, 2019, 5:00 am
The dazzling third album from the stalwarts of Midwestern emo does away with the band’s self-mythology and takes bleary, bold steps toward a new dawn.
Author: Ian Cohen
Posted: March 21, 2019, 5:00 am
On his soundtrack for the film This Is Bate-Bola, the Chicago cornetist, keyboardist, and composer summons the dread and excitement of the lesser-known Rio festival.
Author: Andy Beta
Posted: March 21, 2019, 5:00 am
Gold Panda’s Derwin Dicker adopts a new alias and a new sound, trading his typically lush, sampledelic style for clean-lined house music with a dry sense of humor.
Author: Harley Brown
Posted: March 21, 2019, 5:00 am
The L.A. rapper grapples with uncertainty and depression over warm, creamy, lo-fi beats.
Author: Alphonse Pierre
Posted: March 21, 2019, 5:00 am
A new project from the Chicago vaporwave maven eases off the aggression of her Fire-Toolz alias, finding new inspiration in the clash of new age, smooth jazz, prog rock, and video-game soundtracks.
Author: Miles Bowe
Posted: March 20, 2019, 5:00 am
The punk trio’s unfussy production and precise vocal harmonies are a testament to their well-earned longevity.
Author: Dean Van Nguyen
Posted: March 20, 2019, 5:00 am
It isn’t really in Keef’s nature to be sentimental, but even Zaytoven has a way of getting to the hardest rappers.
Author: Sheldon Pearce
Posted: March 20, 2019, 5:00 am
The Atlanta rapper’s new project stumbles around in search of a hit and comes very close to finding one.
Author: Alphonse Pierre
Posted: March 20, 2019, 5:00 am
Blending modern techniques with deep reverence for history, producer Meitei sets out to recapture a “lost Japanese mood.”
Author: Noah Yoo
Posted: March 19, 2019, 5:00 am
The UK producer’s debut album fashions a distinctive aesthetic out of asymmetrical machine beats and dabs of electronic melody, balancing academic concerns with rave-tested thrills.
Author: Ben Cardew
Posted: March 19, 2019, 5:00 am
Jonny Nash draws on the otherworldly sounds of the Baschet brothers’ experimental instruments to sculpt a gently haphazard ambient mirage.
Author: Philip Sherburne
Posted: March 19, 2019, 5:00 am
Recorded using only plastic material, the concept of the latest Matmos album is undergirded by the compositional integrity, the quality of the sound, and the sickeningly beautiful idea of it all.
Author: Mark Richardson
Posted: March 19, 2019, 5:00 am
The young Jamaican singer shows off her versatility on her debut EP, slipping between rapid-fire ragga grit and conscious reggae styles, and maintaining an unwavering focus on memorable melodic hooks.
Author: Erin MacLeod
Posted: March 18, 2019, 5:00 am
Karen O and Danger Mouse have concocted a lush, vivid world on their dreamy and poignant collaboration.
Author: Ben Cardew
Posted: March 18, 2019, 5:00 am
The cosmically minded group featuring rising jazz saxophonist Shabaka Hutchings dances to the apocalypse and pleads for humanity.
Author: Marcus J. Moore
Posted: March 18, 2019, 5:00 am
The Chicago noise-rock/thrash/punk/metal/etc. trio continue to hate you, your band, and most other things.
Author: Andy O'Connor
Posted: March 18, 2019, 5:00 am
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 revisit Eve’s 1999 debut, a hard-bodied and self-determined showcase.
Author: Rawiya Kameir
Posted: March 17, 2019, 5:00 am
The D.C. dance-music vet and Future Times honcho drops a freeform set of free-spirited club tracks that show off his keen beatmaking abilities.
Author: Andy Beta
Posted: March 16, 2019, 5:00 am
The Sydney punks comb through society’s sludge on a deadpan collection of mosh pit anthems and glistening new wave synthesizers.
Author: Evan Minsker
Posted: March 16, 2019, 5:00 am
The L.A. singer and rapper’s intimate EP confronts trauma and healing in smooth, unflinching songs.
Author: Khalia Russell
Posted: March 16, 2019, 5:00 am
The indie-rock icon fires up his laptop and lays down a set of quasi-electronic jams that owe more to late-1970s post-punk than to the Berlin nightlife that supposedly inspired the record.
Author: Stuart Berman
Posted: March 16, 2019, 5:00 am

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