As Hold/Still‘s penultimate track shakes off its bewildering, oddball electronics and settles into a sinister rhythmic strut, all vocalist Ben Shemie can do is croon the track’s title: “Nobody can save me now.”

Lena is a British flight attendant visiting her German boyfriend, Daniel, in Chile in 1973. Following the military coup by Augusto Pinochet, Daniel is arrested as a political dissident and shipped to “Colonia Dignidad,” a brutal detention center disguised as an agrarian religious cult.

Maybe hearing Lucius’ “Turn It Around” on that one Samsung commercial 50 times around when the Super Bowl was broadcast reminded you of what an out-of-this-world, bona fide jam it was, and just how little it had to do with smartphones or football.

In the ‘90s, hacker thrillers became so popular that critics coined the phrase “cyber punk.” Today, one of TV’s best nail biters is officially ushering in a new genre: bio punk. Or perhaps it should be bio goth. Both terms suit the piercings, coal dark attire, and overall sullen demeanor of the fringe group that modify their genitals, lodge magnets in their fingertips and more throughout the season four premiere of Orphan Black.

I’m not sure if there’s ever been such a contrast between the beauty of a work’s cartooning and the cringe-inducing depravity of its characters as in Simon Hanselmann’s Megg & Mogg comics.

Ten years and five full-lengths in, The Coathangers play midsized clubs, but their snotty denim-punk would still feel at home in your city’s finest DIY basements and other assorted ne’er-do-well hangouts.

13 Cameras is a frequently tense, often creepy voyeuristic thriller.

Only a few months after releasing an album with his world music collective Fool’s Gold, lead singer Luke Top‘s is back with his solo debut Suspect Highs, a surprising step back from the vibrant howls of his best-known project.

The Night Manager, adapted from a 1993 John le Carré novel, arrives with a not insignificant obstacle before it: all the best le Carré novels have already been adapted for the screen, some of them multiple times.