Bonnie “Prince” Billy Celebrates Community
Bonnie “Prince” Billy’s new LP is strengthened by communal tendencies, meeting bombs in Iran and executions in Minneapolis not with clenched fists of protest, but with hugs.
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Bonnie “Prince” Billy’s new LP is strengthened by communal tendencies, meeting bombs in Iran and executions in Minneapolis not with clenched fists of protest, but with hugs.

The CBGB club was the Big Bang birthing center for a revolution in rock, and this four-CD set reproduces what shot out of that dark, dank space.

Cat Clyde is immensely talented, but Mud Blood Bone is a frustrating listen due to occasional missteps and a questionable cowboy-pop aesthetic.

I Want to Be Ready sees the Early transporting and transcending, exploring the textures their unique instrumentation provides.

The Black Crowes have leaned into the familiar: hard, bluesy rock with just enough acoustic accoutrements to pacify the fans they found touring 25 years ago.

On their newest LP, the German electronic stalwarts Modeselektor look back on their discography with a spirit of innovation rather than retrospection.

The narration in Murder Bimbo is whip-smart, clever, and satirical, but the novel’s unusual structure confuses.

Lucid Express might be restless and eager to defy pigeonholing and complacency. That’s good, but in the process, they’ve made an album that often feels overstuffed.

Karim Aïnouz’s films portray characters in states of displacement. In Motel Destino, that displacement becomes spatially literal.

Morrissey’s Make-Up Is a Lie is a love letter to Paris: schmaltzy, befuddling, arresting, but, most of all, HIM.

Everybody ought to dive into the wild, eclectic, joyful zydeco of Clifton Chenier. Even the accordion averse might decide they love it.

The Lowest Pair’s new record is steady and confident. It sounds like both a journey and its end point, and in finding peace within turbulent seas.