Father John Misty is Josh Tillman, former drummer for Fleet Foxes, and for the heightened level of likeminded approach to his previous band mates displayed here, Tillman could be pegged as a blood relative.

What might have taken place following the release of Lower Dens’ 2010 debut album to produce an organism like Nootropics? It’s a question that’s intended as a compliment.

Taking a record rife with compelling ideas as its focus, a remix redux of Battles’ 2011 album Gloss Drop is an intriguing prospect, though creative license sometimes translates here as unbridled indulgence.

Richard Linklater has traversed a stunning stylistic breadth over a sublime filmmaking career spanning more than two decades. Bernie, the director’s 15^th feature film, feels oddly safe for the iconoclastic visionary.

As evidenced by June 2009—a collection of early recordings now finding a proper release—Toro Y Moi’s Chaz Bundick didn’t spring fully formed from the head of Zeus. While his brainwaves would go on to launch a sea of chillwave thought pieces, early songs showed an artist more interested in Ariel Pink-style experimentation than the retro-tinged dance pop he’d come to embrace.

For all of the music Jack White has put out into the world, Blunderbuss is his first solo album, though it sounds much like his work with The White Stripes, The Raconteurs, or The Dead Weather. Written, recorded, and produced entirely by White, Blunderbuss has all the stomp and sway of his best records, but also the unevenness that plagues him to varying degrees.

Kill for Love opens with the unlikeliest of covers—a watery, electronic take on Neil Young’s “Hey Hey, My My (Into the Black).” An allegory for what Young saw as his own growing irrelevance, the song spawned his most quoted lyric—“It’s better to burn out than to fade away”—which is perhaps the saddest of rock ‘n’ roll credos (its appearance in Kurt Cobain’s suicide note rendering it all the more tragic).

Eddie Hazel’s 1977 record Game, Dames, and Guitar Thangs was the only full album the former Funkadelic guitarist released under his own name in his lifetime, and now reissued, it mostly lives up to the high regards in which it’s been held.

During the 1970s, Philadelphia International Records released some of the best pop music of the last century, and Golden Gate Groove documents the night in 1973 when a handful of Philadelphia International Records’ best and brightest, including The O’Jays and Harold Melvin & The Blue Notes, performed for a mainly white, and somewhat skeptical, convention of CBS record execs.