Multi-national shoegaze unit Cheatahs’ latest dials down the volume for a psychedelic, textured sound that’s a leap forward from their already-impressive debut album.

Netflix’s 10-part true crime series, spanning three-times as many years, is an immediately engrossing, roller coaster of a documentary from the writer-director team, Moira Demos and Laura Ricciardi. Making a Murderer instantly lands among the upper echelon of investigative crime reporting—joining the likes of the Serial podcast, Dear Zachary, and Paradise Lost—as it chronicles the unbelievable and often infuriating saga of Wisconsin convict, Steven Avery.

Among certain Flaming Lips fans, the apex of their early career is not The Soft Bulletin, but rather Clouds Taste Metallic, an album more or less showcasing a band in a state prior to transition.

Son of Saul is a Holocaust story, but more broadly it’s a story of grief, mourning, and human breakdown while facing unspeakable atrocities.

Clanging dissonance gives way to jangle-pop in “Reticence,” the opener to the Irish post-punkers’ second LP-a continuation down the shadowy path they took on The New Life.

The Emperor’s New Clothes is a scathing indictment of the rich.

When it comes to holiday albums, it seems like we’ve heard a thousand versions of the same classics. Some are so paint-by-the-numbers that it feels like a retread, with little to no adventure or creativity. Sharon Jones & The Dap-Kings’ new holiday album It’s a Holiday Soul Party is not one of those albums.

An enjoyable pair of cheesy sci-fi features which should have extra appeal to fans of Charles Band or Empire Pictures.

The Lady in the Car with Glasses and a Gun is a remake of the cult 1970 film and director Joann Sfaar embraces the groovy aesthetic of the original wholeheartedly.