A year after “Barry”’s swan song, we’re still swooning over the hit series’ signature enemies turned lovers.
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Tyler, the Creator’s IGOR marked a new approach to writing and producing. The album showcases his growth as an artist and still stands as a testament to his profound talent and impact years later.
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The Lumineers prove that folk has no borders with a painstaking cover of The Cure’s 1987 hit, “Just Like Heaven.” (They’re just missing the synthesizer and red lipstick).
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Dev Patel’s directorial debut is chock full of violence and vindication; but, amongst its critiques of casteism and Hindu nationalism, “Monkey Man” showcases a deep respect for and understanding of India’s gender non-conforming communities through a traditional musical tie-in.
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Crafted from the minds of Dan Barrett and Tim Macuga as a debut for their band Have a Nice Life, Deathconciousness illustrates the obscure and elusive fact of death and the varying sentiments that accompany it.
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Almost a year before the COVID-19 outbreak, the release of Titanic Rising foreshadowed themes of irreversible change and doom. But upon further listen, Weyes Blood’s real triumph is her capacity to offer a stern yet considerate critique on humanity’s hand in upending their own home.
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Megan Thee Stallion’s recent two singles create a satisfying duology: With “Cobra,” thee Stallion of rap reflects on her past pain before using that very anguish in follow-up “Hiss” to warn those praying on her downfall that, through the hurt, she is back and ready to not only kick ass but take names.
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On Good Riddance, Gracie Abrams explores the agony of devastating heartbreak one piano note at a time. Ending on a hopeful note, the outro “Right now” slowly embraces the positive outcomes of moving out, moving on, and blossoming into who you were meant to be.
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Greta Kline explores love and introspection in her second project as Frankie Cosmos. Taking inspiration from her Bandcamp roots, the joyful melodies, DIY sound, and short song lengths of Next Thing leave room for listeners to find comfort in the music’s raw vulnerability.
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From nostalgic 2010s indie tracks to jarring classical concertos, the soundtrack to season one of Netflix’s hit series “Russian Doll” has captivated audiences and captured the essence of chaos through its eclectic music mix.
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In their critically acclaimed first album, Crosses discover a soundscape that collapses the secular and religious border through obscure images of the sacred, seductive synths, and erotic lyricism.
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Hozier’s Wasteland, Baby! reaffirms anxieties of inevitable doom through love, pain, and pure Irish inspiration.
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If Surrender had Maggie Rogers in "Overdrive,” "Don't Forget Me" sees her on a lazy road trip through the countryside. After years of wanting anything and everything, Rogers has finally found a sweet, serene, simplistic reality in a world of inauthenticity.
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Horror mastermind James Wan and former Nine Inch Nails member-turned-composer Charlie Clouser form a chilling alliance in conjuring the sinister “Saw” soundscape, delicately woven by the emotions in the film — devastatingly capturing Jigsaw’s twisted reign of terror.
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The 2024 “Mean Girls” movie — an adaptation of a book into a movie into a musical into a movie — has received a lot of mean words online. While some of the musical numbers are definitely plastic, some of them shine brighter than the Broadway musical.
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Béla Bartók, one of Hungary’s greatest composers, experiments with dissonance and the gravitas of tranquility to give a new meaning to the classical — a genre that both calls attention to, and calms, our greatest fears.
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From his comedic roots as Pink Guy on SoundCloud to creating introspective albums like BALLADS 1 and SMITHEREENS, Joji boasts a uniquely consistent music style, interestingly combining emo rap and melodic trap. Through genre-blurring soundscapes and poignant lyricism, Joji has seamlessly transcended his internet persona, solidifying his position as a compelling force in the global music scene.
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In her version of “Goodbye To Love,” Phoebe Bridgers teams up with Jack Antonoff for a melancholy take on a Carpenters hit for the “Minions: The Rise of Gru” soundtrack.
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