
Nia Archives Brilliantly Expands Jungle and Revels in Hooks
Nia Archives’ new album captures a gifted artist and producer as she transcends her influences, claiming and reveling in her own bewitching style.

Nia Archives’ new album captures a gifted artist and producer as she transcends her influences, claiming and reveling in her own bewitching style.

Armed with just a piano and her voice, Berlin-based Mary Ocher is a striking presence on her new record, Weimar.

If Kate Bush’s The Dreaming is a hellscape of bizarre fragmentation and nightmarish beauty, Hounds of Love teaches pop how to dream and capture those contradictions in sound.

From massive hits to experimental pop compositions, Brian Wilson’s music is always thoughtful, idiosyncratic, and as thrilling today as it was in the 1960s.
FKA Twigs’ Eusexua is a conceptual masterpiece that speaks to the heart and the head, the spirit and the body. These things are not separate from each other.
From lush orchestral arrangements to frenetic fusion, Louis Cole’s nothing is arguably his most ambitious and wide-ranging album yet.
Long-standing art pop collective, the High Llamas take big risks on their latest LP, redefining their sound with hip-hop, R&B, and a lot of Auto-Tune.
Homosexuality drove experimental band Coil’s creativity, yet they rejected the demand that they either embrace performative homosexuality or remain discreet and closeted.
In Scritti Politti’s Songs to Remember, Green Gartside comically challenges hegemonic structures in a perfect harmony of philosophy and pop.

Three decades ago, the lucid yet obscure (and antiquated yet postmodern) first entry in Stereolab’s superabundant catalog foreshadowed greatness. Peng! is 30.
Pianist Melissa Weikart’s offbeat, harrowing avant-pop song “Ocean Song” represents a return to our purest selves with a video set in the calanques of Marseille.
Stevie Wonder’s Songs in the Key of Life is 45 years old. It’s a towering masterpiece in the histories of soul, pop, American music, and Black music worldwide.