“I’ve been going through a change/I might never be sure/I’m just walking in a haze,” contemplates Julien Ehrlich as Light Upon the Lake clocks its tone-setting, ornate first minute.

Like Stax soul remade for the 21^st century, Hannah Gill & The Hours truly packs a punch.

Photos and highlights from a truncated Governors Ball 2016.

Whatever space may be, it’s not currently the final frontier for cinema.

Spencer Krug’s latest record as Moonface ditches the singer/songwriter nakedness of Julia With Blue Jeans On and the City Wrecker EP for a fuller sound. My Best Human Face lands close to the one-off ‘80s spirit of 2011’s Organ Music Not Vibraphone Like I’d Hoped, sounding something like a drunken Tangerine Dream soundtrack.

It’s been awhile since I’ve read a Green Arrow comic book, probably since issue #1 of the New 52 relaunch in 2011. I meant to read Jeff Lemire’s run, as he’s one of the best comics writers of the last decade, but never got around to it.

There were no doubt a few fans out there put off by Tegan and Sara‘s nosedive into slickly-produced pop music with 2013’s mainstream breakout, Heartthrob—what with its radio-friendly singles which found the Sisters Quin cracking the Hot 100 for the first time in their two-decade career.

Every record that Alison Mosshart and Jamie Hince have produced together as The Kills has been laden with a palpable tension that simmers between the two writing partners; on 2011’s Blood Pressures, that magnetic push-and-pull manifested itself into a superb collection of moody, hair-raising tracks where you can feel Hince and Mosshart feeding off each other’s energy.

That director Anna Rose Holmer spent the early part of her career as a cameraperson and cinematographer is not surprising.