Music Reviews

Two decades after splitting up, the pioneering rap crew released its final album Friday. We Got It from Here mines sounds from across hip-hop's history, but the content is bracingly of the moment.

As electronic dance music continues to experiment, D∆WN stands apart by making challenging pop music with soul. Redemption radiates defiance in its celebration of the self.

The prolific psych-rock band's newest album — its second in only three months — traffics in alternately jittery and hypnotic jams.

To take in the band's ninth album is to experience a globetrotting victory lap across eight different languages, all tackled with cosmopolitan sophistication and the playfulness of pop.

Sadie Dupuis' new solo songs are brimming with taut hooks, layers of flittering keyboards and electronic beats that'll get everyone bobbing and moving on the dance floor instead of in the mosh pit.

During the months he spent on the road in 1966, Dylan refined a way of inhabiting and transforming his own songs that was different from anything he'd done before.

The duo's fourth album is a testament to the power of a celebration gone weird, with chopped-up and resequenced hooks working as the raw material for a scathing, fragmentary kind of pop.

Wainwright's singing shows a deep awareness of the multiple meanings that can merge and overflow — even within utterances as direct as a lover's whisper or a lullaby.

Three albums after wrapping his run with one of the most successful country duos of the '90s and early '00s, Dunn deftly carves out a role for himself amid the genre's current youthful landscape.