It’s hard to find words for how painfully unfunny this film is, but the phrase “unholy garbage” keeps popping to mind.

This indie rock trio from Los Angeles released a promising 6-song EP titled Spring in 2018 that featured some guitar-centric, sunshiny indie pop and smooth, harmonized vocals.

French producer Gesaffelstein (aka Mike Lévy), let too much time go by between album projects. Releasing debut Aleph in October 2013, Gesaffelstein—the title is a word-blend of Gesamtkunstwerk, a work of art that makes use of many forms, and Albert Einstein—burst onto the dance music scene with a head-trip banger.

Collecting the first six issues of the series by writer Jody LeHeup, artist Nathan Fox, and colorist Dave Stewart, The Weatherman scratched our sci-fi/action/adventure itch better than anything has since Schwarzenegger’s big-screen heyday.

Giallo is undoubtedly one of the most entertaining subgenres ever to be produced for literature and film.

The first studio album in 12 years from Ninja Tune stalwarts The Cinematic Orchestra is a thing of beauty. Full of weight, light and shade, even as it contains only seven tracks.

“It’s still in San Diego/You can hear a baby cry, as the trains to New York City go thundering down the line.” What a couplet with which to begin an album.

Anton Newcombe has been responsible for some of the most invigoratingly exploratory music released over the past quarter of a century.

What band with a tenure of nearly four decades still releases—if not consistently excellent—consistently good music?