The Bank Dick is perhaps one of the greatest comedy films ever made.

“‘Maximalist double album’—that was always the general idea. Something over the top.” That’s how Super Furry Animals singer/guitarist Gruff Rhys describes their 2001 opus Rings Around the World in the notes to its 20th anniversary edition. With the deep-diving hindsight of the three-CD anniversary version, this was a mission that Rhys and company clearly accomplished.

Fans of MONO know what to expect from their albums at this point. The Japanese post-rockers are a band of rare power and controlled aggression, masters of the wall of sound approach.

The Boxtrolls puts on display some of the best animation of its kind.

Texas psych-rock trio Khruangbin released a new album, Mordechai, last year via Dead Oceans, in association with Night Time Stories. It was followed by Mordechai Remixes earlier this year. They recently performed at the Santa Barbara Bowl, in Santa Barbara, CA, and our photographer Robert Redfield was on the scene to capture the action.

Emma Ruth Rundle’s previous three studio albums—2014’s Some Heavy Ocean, 2016’s Marked for Death, and 2018’s On Dark Horses—established her as an uncompromising, unflinching, and visionary artist. Her work flickers and flares with a mysterious somber genius; her albums are always hauntingly beautiful and layered with moody, reverb-laden textures, which add an intensity and dark drama to her compositions. After embracing the noise during her collaboration with sludge metal band Thou on 2020’s May Our Chambers Be Full, Rundle goes for the polar opposite in terms of sonics on her latest album, Engine of Hell.

Nearly three decades after charting the hit single “In the Meantime” with Spacehog, singer/songwriter and multi-instrumentalist Royston Langdon remains in top form.

Prisoners of the Ghostland is one of those films that seems like it’s groping for cult status from its inception.

One of jazz’s great unprecedented recordings, John Coltrane’s 1965 masterwork A Love Supreme has garnered widespread recognition as both a classic and, more importantly, jazz age miracle, marking a triumphant turning point in musical thought and affecting an entire spectrum of listeners. The recently unearthed A Love Supreme: Live in Seattle possesses a wealth of sonic complexity and freewheeling creative expression, casting the game-changing saxophonist in a fresh light. This release, much like the studio album, stands as a genre landmark, reminding the listener of what is wholly right and truly good in modern music.