Breakup albums have a rare power; they mark the moment when an image-conscious artist is suddenly compelled to let his guard down. Bob Dylan's Blood on the Tracks and Tyler the Creator's IGOR are similar in their vulnerability.
Slough Feg carry on their heavy metal journey while Darkthrone keep digging towards their proto-punk/heavy metal core. Baroness return with their most ambitious work to date, while Pinkish Black continue to explore the endless possibilities of synth driven extreme music.
Deerhunter's Why Hasn't Everything Already Disappeared? and Cryptograms are antithetical twins -- shattered mirror images, whose fragments echo each other and reflect Deerhunter's beginnings of and return to inspired experimentation.
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.
Saxophonist Branford Marsalis and his veteran quartet's The Secret Between the Shadow and the Soul demonstrates his commitment to communicating emotions to listeners but without compromise to his kind of jazz.