Pop Culture

Annie & the Caldwells’ Can’t Lose My (Soul) emerges victorious—against all odds—from the dense overgrowth of history’s enigmatic wilderness. Our journey begins in the early 1970s, when gospel’s DNA, which had already shaped funk and R&B, cross-pollinated back, inspiring a new generation of gospel singers to embrace the same unapologetic, dance-worthy grooves that fueled the Staples
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Tim Hecker’s classic albums were typified by volume, presence, and an eerie sense of desolation, creating soundtracks for landscapes devoid of humanity. His first triptych—2001’s Haunt Me, Haunt Me, Do It Again; 2003’s Radio Amor; and 2004’s Mirages, developed a vocabulary of static, crackle, and hiss to evoke images of arctic tundras and industrial cityscapes
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With 2017’s Reaching for Indigo, Haley Fohr, aka Circuit des Yeux, showcased her compositional savvy, crossing folk and avant-garde leanings. The album also spotlighted her voice in a way that previous projects hadn’t, her emotional and technical range on glorious display. 2020’s Jacqueline (released under her Jackie Lynn moniker) captured Fohr steering a rawer sound
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1. “Planet Telex” The finest musical introductions serve as a welcome party. Jimi Hendrix’s “Foxy Lady”, Queens of the Stone Age’s “Feel Good Hit of the Summer”, and TV on the Radio’s “Halfway Home” all proclaim, “You’ve arrived!” to whatever otherworldly realm the band in question has discovered. “Planet Telex” is, undoubtedly, a grand welcome
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If there’s anything axiomatic about contemporary Berlin, it’s that things usually don’t go according to plan. Despite Germany’s excellent international PR in the domains of engineering and economic + social stability, on the ground, you’ll witness anything from more than 20% of the population living in poverty, buses never showing up despite announcements, to massive
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Mood Machine: The Rise of Spotify and the Costs of the Perfect Playlist Liz Pelly Atria / One Signal January 2025 Music journalist Liz Pelly’s passionate, exhaustive excoriation of Spotify, Mood Machine, isn’t just an invective against music streaming. It’s also another cautionary tale about how tech behemoths and hyper-capitalists have built unprecedented fortunes at
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