Uzbekistani band Needshes' new single is a playful indie track that quickly locks into a tight, funk groove. Have some "Love" for Valentine's Day.
On Deleter, Holy Fuck have enthusiastically thrown themselves into the kaleidoscopic world of the early 1990s house scene while adding a few footnotes using their particular musical vocabulary.
Going from a trio to a duo doesn't affect Battles' dedication to chirpy synths and deep grooves on their latest, Juice B Crypts.
Up now on Brits in Hot Weather, we have swaggering alt-pop from Pelicandy, rousing indie from Chay Snowdon, electrifying synth-rock from former Wild Beasts co-vocalist Tom Fleming, the melodic electronics of GLOWS, and the brooding debut single from Baby Taylah.
Ranging in tone and style, Metronomy's Metronomy Forever feels like a spiritual successor to their second album Nights Out.
Progressive metal vocalist Daniel Tompkins of TesseracT successfully infuses his trademark serenity and intensity with plenty of experimental electronic edge on Castles.
From crafting the acclaimed soundtrack to Max Max: Fury Road to his latest score for Alita: Battle Angel, Junkie XL talks with PopMatters about his film score work and what draws him to classic scores from the '50s.
Talu's "Butterflew" counters the more blissful vibe of its predecessor—"Change in the Winds"—with a fittingly franker and heavier spirit that deals with "the end of a long-term toxic relationship".
For the first time in six years, Camera is a quintet. The newly-formed five-piece break free of krautrock's confines to deliver something substantially more avant-garde.
The masterful bearded balladeer John Grant's fourth LP, Love Is Magic, rarely matches the soaring heights of his past triumphs.
Garbage brings a powerful female perspective 20 years on, in a show devoid of nostalgia and full of powerful messages.
Justice are best consumed as a live act, but as a stand-alone piece, Woman Worldwide struggles to justify its own existence.
With Woman Worldwide, the French electronic duo Justice recorded an unusual experience: a live album… recorded in a studio.
With the video for "Collateral Damage", Talker has produced that rare thing, a video that stands up as a profound piece of art on its own.
Private Life's "Hesitation" features fast rhythms, strange electronic noises, and all the intensity you can pack into 1:58 seconds.
With "Wakey", Detroit-based electronic/art rock quartet Summer Like the Season has delivered a tune that perfectly fits their name.
How an appreciation for adventurous rock music — and a couple of close encounters — made one week in May a double shot of euphoria when two class acts lowered the boom in the rarefied air around the Mile High City.
Editors experiment on Violence and produce a pop-focused set of tracks tinged in darkness and depth, but explore too far and overshadow the band's strengths and past successes.
Newcomers to Self Esteem will find a singer who can command in front of the camera as well as in the studio.
"Black Heart" bursts through the door with heavily processed vocals and an aggressive, percussion-led arrangement that culminates in a solo that sounds like the circuits on the P-Funk Mothership are overloading.
A well-curated collection of vintage German electro rock creates a vast soundscape on Deutsche Elektronische Musik 3.
New single from dark duo VOWWS conjures classic James Bond scores while avoiding all the stuff we've all heard before.
Marble Skies retains the charming diced and spliced sound of Django Django's debut while delighting in the sheer joy of experimentation.
Leeds' AUTOBAHN release a bleak, moving, and dark engine of an album in The Moral Crossing.
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