A new reissue of a 1975 Berlin organ performance rescues an overlooked masterpiece of early ambient music. In its crystalline churns, conventional timekeeping melts away.
Hot off the flirty summer hit “Nasty,” the singer-songwriter delivers a lean and muscular collection of songs for the club and the road.
The third record from the Nigerian pop star has the muted thrills of a victory lap: a triumphant showcase that covers well-trodden ground.
The Detroit rapper teams up with Oakland’s Squadda B for some interstate madness. J.U.S rolls with every beat for a record that sounds specifically local but refreshingly timeless.
The Boston group translates its habitually dreamlike reveries into sharply focused songwriting, bringing newfound heaviness to its narcotic haze.
The Indianapolis band is a standout voice in the new generation of shoegaze. Its debut album is filled with memorable hooks and blistering guitars that draw on Midwest emo and 2000s pop.
The sequel to the rappers’ collab album from February is even shoddier in construction and execution than its predecessor.
On the Clayton County rapper’s third album, her winking Southern charm gets lost in an abundance of anonymous beats.
John Dwyer’s ever-inventive psych-garage band plugs synth demos into samplers and thrashes and pulses without the aid of a single guitar. Just add saxophone.
Bea Kristi’s third album, co-produced by Rick Rubin, deploys a more subdued, acoustic palette to render an accurate portrait of early adulthood.
Jade Lilitri’s latest is an economical, punchy rock record about love and death that still expands the band’s core sound.
The Toronto hardcore band’s latest builds on their previous records not by going bigger but by honing the small stuff: intricate melodies, squelching guitar loops, and Damian Abraham’s ornately aggressive performance.
Each Sunday, Pitchfork takes an in-depth look at a significant album from the past, and any record not in our archives is eligible. Today we revisit an essential 1979 example of self-described Great Black Music from a tight-knit collective that embraced traditional and experimental forms all at once.
The New Orleans drone duo follows up its 2011 album Common Era with an unexpected pivot into shoegaze. At its best, it makes familiar formulas sound alien.
The singer collaborates with Dahi for a genre-blending album that experiments within and beyond R&B—always guided by her expansive, cotton-candy soft soprano.
On an album filled with A-list producers and magnificent beats, the San Francisco rapper skates by with simplistic, autopilot rhymes.
In a new collaboration with producer James Riotto, John Vanderslice strikes a fascinating balance between his art-rock inclinations and his newfound passion for exploratory electronic music.
On a frenetic album that tests the limits of his trolling, JPEGMAFIA hints at the delicate balance of truth and fiction behind his confrontational mix of noise, rap, and punk.
Four years after an unexpected comeback LP, the Los Angeles country-punk veterans return with their final album. They sound vigorous and assured, finding fresh inspiration in familiar sounds.
The old Jack White suddenly steps out from behind the curtain with 42 minutes of amp-busting blues punk. Even the last couple of White Stripes albums weren’t this stacked.
Backed by his live band, the rapper remixes and elaborates the autobiographical themes and gospel uplift of 2023’s Michael.
The MPC wizard’s ethereal synths are the perfect complement to Harmony Korine’s over-the-top spectacle, playing up its impressionistic textures and humanizing its hallucinatory violence.
Amid the rich textures and hushed production of this playful, soulful six-song EP, the San Bernardino native radiates sensuality—and fun.
On his first solo billing in six years, the guitarist—a member of Darkside and Taper’s Choice—bids farewell to NYC. These patient, wistful explorations are heavy on both melody and collaborative spirit.
The Texas singer uses experimental vocal collages set against actual Lynchian backdrops to create a uniquely off-kilter kind of evanescence.
The rapper and visual artist’s debut compilation is an intimate opus of lo-fi sampledelia, a 50-song catalog of memories, half-thoughts, and moments of discovery.
This invigorating compilation of African dance music from the 1980s and ’90s is a nostalgic snapshot of the Ugandan DJ’s youth—and a celebration of the selector’s ability to connect disparate sounds.
Billie Eilish joins a cheeky, bikini, high-rise, hipster remix of a song from Brat and it’s the same but there’s three more songs so it’s not.
It’s Lil Yachty vs. the preppy white rapper everyone loves to hate.
Defying all sense of taste, the pop singer’s comeback single is too dispiriting to even approach camp. It’s abysmal.
It’s a meeting of the minds, two great pop stars being vulnerable and self-aware while making a watershed moment in pop in the process.
Over a soulful Al Green flip, Kendrick stays on offense by peacefully dismantling Drake’s whole situation.
Even the song title can’t keep a straight face as synth-pop producer Porter Robinson sends up celebrity-worship culture from the inside.
Who the fuck wants to hear an extremely measured and level-headed assessment of Kendrick’s albums in a diss track?
And sometimes that’s a good thing.
K.Dot’s spicy verse—and its surrounding song—is from Future and Metro’s first-ever collaborative album, We Don’t Trust You.
The singer teams with the London dance duo for a happy hardcore Eurodance big-beat dance-pop scream.
The song went viral on TikTok earlier this year, which of course is the bat signal for an OVO co-sign.
The first single from Brat has its heart in the club and its ass on a Harley.
The title track from the North Carolina-based singer-songwriter’s new album moves according to its own trancelike logic.
The band returns and stares into the void on one of the curious lead singles from the upcoming album Only God Was Above Us.
The lead single from Pratt’s new album, Here in the Pitch, takes the time-obsessed spirit of her music, adds a drummer and a bassist, and welcomes a new era.
The pop star goes pop-country on the lead single from her forthcoming sequel to Renaissance titled Act II.
On her new lead single, the country singer-songwriter is quitting weed and quoting Emmylou Harris.
On the first single from a long-gestating solo debut, the iconic Portishead singer sounds remarkably little changed.
The rapper’s blustery new single fails to deliver on a provocative premise.
The singer offers a loving mantra on a rare appearance taken from the soundtrack to Jeymes Samuel’s The Book of Clarence.
Pop’s Teflon princess is improvising her way out of a scandalous press cycle.
MJ Lenderman guest stars on the lead single from Katie Crutchfield’s new album, Tigers Blood.
The dembow star’s new pop-urbano single with the St. Louis rapper is just a little underwhelming.
The closing credits song to the Renaissance world tour concert film is a triumphant stomper with a midpoint switch-up.
The Leon Tour has support from Hermanos Gutiérrez and Texas country singer Charley Crockett.
Kip Berman and his bandmates will play their self-titled debut in full during select shows in Spain and Portugal.
The single, named after the mysterious creamed corn substance, finds Steven Ellison singing about “the red room”.
The rapper and producer rose to prominence in the 2010s with his fusion of hip-hop and raw club rhythms.
Stream new releases from Post Malone, Tinashe, Charly Bliss, Chuck Johnson, Wishy, Horse Jumper of Love, Durkalini & Surf Gang, Delicate Steve, and NoCap.
Gaga and Mars go vintage country in the visual.
“New Woman” unites the K-pop singer and Spanish star.
The New Zealand multi-instrumentalist played in the noise trio Thela before releasing a series of cult solo records.
Perry will join the VMAs pantheon with a career-spanning performance during the September 11 ceremony.
The music festival, which takes place next month, abruptly relocated to SeatGeek Stadium in the Illinois suburb back in June.
Flo Milli, Big Sean, Fabolous, Luh Tyler, YN Jay, Anycia, and more are on the nearly eight-minute Play Cash Cobain song.
The band is letting fans propose benefit shows to support the Democratic presidential ticket.
The first in a series of live sessions filmed in Niger before Funeral for Justice was finished.
“As Above So Below” is “probably our most conventional tune yet,” the outfit’s Zach Phillips said in a press release.
Two men were accused of killing the New York rapper Chinx in 2015. One, Quincy Homere, pleaded guilty to a manslaughter charge.
Heavy Glory, the Danish artist’s first album under his given name, is getting released via Escho.
The second single from the Canadian rock duo’s final album.
Light in the Attic partnered with Laurie Anderson and the Lou Reed Archive for Why Don’t You Smile Now: Lou Reed at Pickwick Records 1964-65.
The Kentucky metalcore band has upcoming shows with Slipknot, Militarie Gun, and others.
The California musician’s first solo full-length, Gossip, lands in October.
The Rocket editor and founder of Bruce Springsteen fanzine Backstreets Magazine died from natural causes.
Billie Eilish, Shaboozey, Tommy Richman, and Bonny Light Horseman are also among the former president’s seasonal selections.
The awards show will take place on September 11 and feature performances from Sabrina Carpenter, Chappell Roan, Glorilla, and more.
The Hayes estate threatened to sue the Trump campaign if it continues to use “Hold On, I’m Coming” at rallies.
A representative confirmed that the London rock trio’s members are focusing on their solo work.
The musician’s worked with Mariachi 2000 de Cutberto Pérez to update 2022’s Reset.
Our weekly playlist highlights songs that our writers, editors, and contributors are listening to on repeat.
I Wanna Run Barefoot Through Your Hair, the singer-songwriter’s first solo full-length since 2015’s Chrissybaby Forever, lands in October.
“Sound Within Sound,” which samples the multi-instrumentalist’s frequent collaborators André 3000 and Carlos Niño, leads Excellent Traveler.
The song originally appeared on his 1999 studio album Mule Variations.
Featuring Alanis Morissette, Jamie xx, Black Pumas, Yaeji, and more highlights from our Chicago festival this year.
Highlighting some of this year’s most fashionable festivalgoers.
A gallery highlighting artists from this year’s festival including Black Pumas, 100 gecs, Sudan Archives, and more.
Including shots of Alanis Morissette, Brittany Howard, Wednesday, Amen Dunes, Tkay Maidza, Rosali, Yaeji, Hotline TNT, Jessie Ware, Angry Blackmen, L’Rain, and more.
Charli XCX, Thom Yorke, Billie Eilish, Taylor Swift, and more of the most essential tickets of the year.
A rolling list of our favorite albums of the year, updated somewhat frequently.
New releases to look forward to in the coming months, from Ice Spice, Clairo, Nick Cave, Ravyn Lenae, and more.
A rundown of some of the best moments of the Parc del Fòrum festival, featuring Lana Del Rey, SZA, Troye Sivan, Arca, Mitski, PJ Harvey, and more.
A guide to upcoming music festivals happening across the globe.
The best under-the-radar finds in electronic, rock, pop, and more.
Remembering the 61-year-old guitarist and engineer: a craftsman, a gourmand, a hater, a reformist, a poker champion, an icon of the underground.
From Pitchfork Guy to St. Vincent, these are the Pitchfork Festival shots that have stayed with our photographers over the years.
Tyler, the Creator took home the trophy and No Doubt still got it, but the festival’s overall bid for nostalgia fell flat.
Artists like Parannoul and Asian Glow are turning a uniquely Korean sound into a global phenomenon.
On a hair-raising visit to a London occult museum, the Japanese Canadian songwriter and producer chronicles the social experiments and globetrotting adventures that led to Qwerty II, her new EP for Dirty Hit collaging R&B and alt-rock into interdimensional pop.