
Tangerine Dream’s Classic ‘Rubycon’ at 50
Tangerine Dream’s albums from the early to mid-1970s are not only iconic in the strongest sense of the word; they’re influential beyond compare.

Tangerine Dream’s albums from the early to mid-1970s are not only iconic in the strongest sense of the word; they’re influential beyond compare.

Despite several moments of quiet intensity, Kalia Vandever’s Another View flows like a dream, with composition and improvisation beautifully intertwined.

Amy Speace keeps folk traditions alive. With just her guitar and her voice, she inspires, entertains, and reminds us why heartfelt storytelling never goes out of style.

Hourglass is Antibalas through and through: no novelties, no gimmicks, all consummate professionalism. That is a comfort.

Hélène Barbier writes songs that are couched in traditional post-punk, power-pop frameworks, but there always seems to be something off-kilter in the presentation.

Despite the mixed results on Stardust, two things remain clear: it’ll be impossible to predict where Danny Brown goes next, and it will be appointment listening.

Tiberius’ influences serve the songwriting and performances beautifully. Their various sounds always include an undercurrent of folky Americana.

Da Lata’s music is warm, soulful, and made in collaboration with artists working with musical styles that have emerged from African-Brazilian interchanges.

Freddie Mercury’s Mr. Bad Guy wasn’t brilliant, but it had shades of brilliance, and for queer pop, it was a step forward for both the artist and his listeners.

So, Here We Are: Best of Doves shows how their secret is making music that’s grandiose yet unpretentious. It’s big music with a small ego.

Rahsaan Roland Kirk had an idiosyncratic style that fused hard bop with more melodic elements from gospel, blues, and pop. He had a theatrical stage presence.

Dan Knishkowy’s ever-evolving indie collective Adeline Hotel open a new chapter with the breathtaking Watch the Sunflowers.