On April 30, 1980, six gunmen championing the cause of Arab national sovereignty charged the Iranian embassy in London and took the 26 people inside hostage.

Let’s be honest here. For most listeners, covers albums are often trite at worst and at best, are faithful reproductions of the work of the artists that they intend to pay tribute to. This applies as well as to many works like these, where an artist covers an album from start to finish.

A captivating, enjoyable look into the life of one of the more understated legends from the classical jazz era.

Half a century into our future, 86-year-old Marjorie (Lois Smith) sits across a room from her dead husband.

David Lynch has suggested that his work, which often eschews narrative sense, offers more to the viewer than they initially realize. What seems inscrutable may actually be made sense of deep within one’s brain, like the interpretation of a dream. Much of Grizzly Bear‘s recorded output invites a similar interpretation, and their fifth LP, Painted Ruins, is no different.

Brett Gelman plays an all-but-failed actor slipping headfirst into a midlife downward spiral.

Hopscotch does something different with its storytelling: it brings the audience along for the ride, effectively making the viewer an accomplice to the shenanigans at play.

On Rainbow, Kesha sounds breathless. Her third studio album is an album about survival, and if Kesha is exhausted, she has every right to be. The 30-year-old is embroiled in an ongoing lawsuit with her former producer and alleged abuser Dr. Luke, and recorded 14 songs for this album while still in rehab.

It’s common to see songwriters start out making simple, traditional, pop-oriented songs, and then over the course of a career evolve to create more complex, refined, and writerly work. It’s rare, however, to see that same process in reverse. Steven Wilson, former frontman of Porcupine Tree and the figurehead of modern prog, is doing just that with his new album To the Bone.