After a year-long “hiatus,” King Gizzard & The Wizard Lizard are back and stronger than ever, with their fourteenth album in half as many years. Immediately different from their past material (known to genre-bend from metal to jazz, often within one song), Fishing for Fishies strikes a balance between garage-blues “boogie” and remarkably deep lyrical content.

Few artists are a musical chameleon in the way Stephen Wilkinson, aka Bibio, is. Throughout his career, the British musician has shifted his aural colorations to blend effortlessly into many different genres.

Khrustalyov is a claustrophobic, relentless nightmare.

You can almost imagine Aldous Harding’s face contorting into paralytic awe or into an expression of statuesque severity when you hear her move guilelessly through her register.

There’s a great film inside Carlos Reygadas’ Japón — but his celebrated 2002 directorial debut places ambitious pleasures alongside a tendency to mistake jagged ugliness for authenticity.

The importance of Alice Guy-Blaché to the history and evolution of filmmaking has been insultingly downplayed for the better part of a century.

At some point, youth cracks. That sense of perpetual invincibility, the world firmly clenched in your fist, the euphoria that rushes through your blood as you contemplate your ever-expanding horizon—everything starts to crumble.

Jade Bird sings like a good ol’ fashion Southern girl coming from a grand tradition of Brits who put their spin on great American roots and country, then volley it back across the pond, elevating the game.

Despite the disappointing fact that its three marquee players — Vincent Price, Christopher Lee, and Peter Cushing — share virtually no screen time together, Gordon Hessler’s 1970 sci-fi thriller Scream and Scream Again is still a fair amount of fun to watch.