Peter Bebergal presents a nuanced examination of how the occult influenced rock and roll, from its inception to present day.

David Cross’ directorial debut, Hits, is probably not what you’re expecting it to be, and that’s a good thing.

Originally released in 1993, Gentlemen is arguably the best album in The Afghan Whigs’ catalog. Bursting with tension and release, emotional weight, fear, regret, disgust, shame, and masochistic self-examination, the album separated itself from all other albums of the era with its soulful honesty and brutal, sadistic sickness.

Man, just think of the playground you’re granted if you dismantle a shoegaze band in the mid-‘90s and bring it back to life in the ‘10s.

A film crew is granted unprecedented access to a quartet of vampires—flatmates in a dusty, old house—in the months leading up to the Unholy Masquerade Ball.

On their second official full-length, which is a notch or two below their fine 2011 self-titled LP, Melbourne chime-and-jangle poppers Twerps attempt to stumble casually into brilliance like The Bats, Pavement, and Yo La Tengo have before them.

It’s unfortunate for Colin Huebert that he was ever labeled as former drummer for the Great Lake Swimmers. Maybe he doesn’t consider that to be the case, since Great Lake Swimmers releases one beautiful, pastoral album after another.

Only in this day and age could the most human album in a long time be produced by an alter-ego. Joshua Tillman’s second go-round as Father John Misty, I Love You, Honeybear, finds the character going through every cycle of life, from lust to love to fear to hopelessness to depression to loneliness, only interrupted by the occasional bout of happiness.

Bat-mania swept the United States in the 1960s. Adam West and Burt Ward appeared on television as the dynamic duo once a week. West’s Batman made the cover of Life Magazine in 1966.