In this excerpt of a history of the UK music press, A Hidden Landscape Once a Week, Tony Stewart recalls his time as writer and deputy editor at NME (1971-85) — the strengths and pleasures of teamwork and the vital role of the visual in the energies of a rock paper.
The Wedding Album's "John & Yoko" is a brilliantly disquieting composition that exists unequivocally as an intentional, constructed art piece.
Big without the "bang", Miss Universe poignantly showcases the young talent Nilüfer Yanya coming into her own on her own terms.
On his debut album ATAXIA, Rian Treanor has mastered a whole new sonic vocabulary that gradually destabilizes and erodes existing principles and practices of electronic music to create something wholly unique.
The 11th studio album by David Gray finds him returning to the "folktronica" through which he made his name in the late 1990s, with some added twists.
Florida-based songwriter, Alex Di Leo's soulful, minimalistic pop is hook-laden and restorative on "High".
Having written the song after a difficult discussion with his wife about living with abuse, Dan Hubbard's latest single is "a really earnest conversation about getting out".
If you're a smart, historically-minded music reviewer or essayist, let your voice be heard by the quality readership that you deserve.
Doko Mien highlights Ibibio Sound Machine's versatility as the group continues to bring Lagos and London together in new ways.
Luther Dickinson and a remarkable group of roots music vocalists explore their own pasts on the vibrant new Americana collaboration, Solstice.
John Smith's Hummingbird is poised to introduce an artist John Renbourn once called "the future of folk music" to a worldwide audience.
What began as a blog becomes Ashes to Ashes: The Songs of David Bowie, 1976-2016, a tome for fans and critics.
Oya Paya’s new EP Som captures the band in all their energetic glory with kaleidoscopic harmonies rubbing up against funk bass runs and psychedelic guitar freakouts .
Luther Dickinson and Sisters of the Strawberry Moon's short run of City Winery shows preceded the release of their debut Solstice.
Roots music fiddler April Verch returns with an album of classic country covers, and her first single is a swingy take on Loretta Lynn's "You Ain't Woman Enough".
Dutch DJ Deepend and Hanne Mjøen pull off a classic club tune with a pumping pop heart in "One Thing Left to Do" that should light up dancefloors throughout 2019.
Kevin Elkin Henthorn of Cape Francis is the indie rock everyman, and he made a record with Deep Water that many will feel in their bones.
Le Boom's new single is an intoxicating electropop track that celebrates those moments where life just seemed like it just couldn't get any better.
Instrumentally dazzling but sonically muddled, Harriet Tubman's The Terror End of Beauty is a mixed bag of genre-resistant instrumentals.
Lambchop's new album is the musical equivalent of that final "walk" monologue from Synecdoche, New York. It's a heavy listen, but potentially a rapturous one as well, for anyone who has ever experienced a reverie of aging and all it entails.
Seattle progressive metal legends Queensrÿche return with their 15th album and major tour. According to guitarist and co-founder, Michael Wilton, it's all just one more stop on a path the seems to go on forever.
With an understanding of detail and texture, cellist Julia Kent's Temporal displays her intimate understanding of acoustic and electronic elements.
Every listen to How to Dress Well's "Vacant Boat" reveals not just something new, but a new way of hearing it as a complete package.
Florida garage soul outfit the Sh-Booms offer up a slice of the real via "Leon the Hustler" from debut album, The Blurred Odyssey. Fight the disenfranchisement.
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