After a number of solo albums as J. Tillman and a stint as Fleet Foxes’ drummer, Josh Tillman created Father John Misty to find his real voice. It seems to be paying off as he moves to the third album under his eccentric moniker, a musically quieter and lyrically more expansive follow-up to 2015’s I Love You, Honeybear.

For those who never stopped spinning the group’s turn-of-the-Millennium classics, the emergence of Automaton—Jamiroquai‘s first since 2010—comes as a mixed blessing.

Spanish writer/director Nacho Vigalondo has built himself a reputation as a purveyor of off-beat genre fare.

Released in January of 1944, when the outcome of World War II was still far from certain, Alfred Hitchcock’s Lifeboat was a bold and divisive film.

It’s not that Silver/Lead is a bad record. It’s not. But what is interesting about it—the atmospheric sounds and rhythms—are relegated to the background, if there at all, and then to only certain sections of songs.

Herein, Margaret Chardiet celebrates a decade of her solo noise/industrial project’s noxious squall with an album that seeks to facilitate the listener’s mind transcending their physical body.

A dangerous mob assassin is given an unwilling sex change, and then goes on a violent murder spree to take vengeance on the mad doctor who performed the operation.

Max Andersson’s The Excavation is a warped, dark, pseudo-nightmare unlike anything in recent memory. A man brings his girlfriend home to meet his family, only to find that his home is not where he remembers it.

Concrete Desert is an unexpected, yet welcome, collaboration by two esteemed veterans in their respective fields.