Not every examination of a pop record requires an elaborate look at context and character, but anything by David Bowie demands it. In some superficial sense, Bowie’s albums are vehicles for abstract character arcs, and each one leads into the next by either following through on previous themes or abandoning them altogether.

Two notorious Bo Derek stinkers from the ‘80s in one double feature.

Daughter‘s front lady Elena Tonra isn’t much concerned over the words used to characterize or categorize the music she writes, just those she uses to write with. Tonra has turned to song as self-therapy, a vocalized journal, and a buoy to keep her above the surface of life’s choppy seas.

Lamb is a very unconventional love story—if it can even be classified as such.

Mystery Jets may hail from England, but as their career has spanned over five albums, they’ve begun to sound more and more American, and their latest record Curve of the Earth is the next step in their progression towards Yankee assimilation.

Despite being packed with a strong ensemble cast—including Glenn Close, Sam Waterston, and Kristen Stewart—playing likable characters, the film suffers from a certain overly-intellectual preachiness.

Ethereal (or “Etheriel”), that was always the word back then. But Lush‘s celestial shimmer represented only one element of their overall sound. The lower depths of the Lush bass and drums joined in to propel those chiming guitars and sweet yet haunting voices outwards, even taking the whole to some unforeseen places.

Criterion’s The Complete Lady Snowblood collects two of Japanese director Toshiya Fujita’s revenge films, Lady Snowblood (1973) and Lady Snowblood 2: Love Song of Vengeance (1974), which are must-sees for fans of Quentin Tarantino’s Kill Bill movies.

There are no adults in Alexandria. In the wake of their mysterious collective departure, Ben Schiller, her sister, best friend, and the rest of the town’s high schoolers try to live as normal a life as possible.