Music

Charli XCX built a career proving mood-board aesthetics can have real depth. Her latest projects suggest that winning streak may be ending.

Lana Del Rey's *Norman F\*\*\*\*\*\* Rockwell!* is her best yet — a critic argues her messy, contradictory Americana is exactly the point.

Lana Del Rey's decade of cultural controversy — from "industry plant" accusations to race debates — consistently overshadowed her actual music.

Meet Cameron Winter, 23, the cryptic genius behind Geese's *Getting Killed* — a ferocious, landmark rock album drawing comparisons to Radiohead, Pavement, and Swans.

Brooklyn indie band Geese plays SNL this weekend, sparking the same hype-and-backlash cycle that defined the Strokes and Nirvana's breakthrough moments.

Lana Del Rey's *Norman Fucking Rockwell!* reframes her as a radical empath, not a sad cliché. A personal, critically grounded case for her artistic legitimacy.

Brooklyn rock band Geese's new album *Getting Killed* is splitting fans between "watered-down Radiohead" and "rock's future." Lipez explores what that divide reveals about fandom.

After a decade of creative numbness, Lana Del Rey describes a quiet, unexpected shift — a random mall trip that somehow broke the spell.

Bad Bunny plants a Puerto Rican flag on the global stage, blending salsa roots with modern urbana in a politically charged masterpiece.

Bad Bunny's Spanish-language Super Bowl set exposes America's cultural double standard: claiming Puerto Rico while rejecting its music as "foreign."

Bad Bunny's Grammy-winning album reclaims Puerto Rico's erased history. A rare, candid portrait of a global star rooted fiercely in his island's identity.

Geese's *Getting Killed* is a furious, apocalypse-soaked rock record — politically raw, musically fearless, and one of the year's most necessary listens.

Lana Del Rey's racist Instagram post exposed her "fragile feminism." This piece traces her troubling pattern of white privilege dressed as victimhood.

Rosalía's *Lux* dazzles with Catholic spectacle, but beneath the nun-core aesthetic lies a serious reckoning with inequality, suffering, and moral complexity.

A newly unearthed 1982 concert recording reveals Art Blakey's overlooked post-Marsalis Jazz Messengers lineup—featuring a young Terence Blanchard—as genuinely great.

Lana Del Rey's ninth album goes deep—dense, sprawling compositions wrestling with family history and romance. Bold and risky, but is it too much?

Bad Bunny turned the Super Bowl stage into a defiant Puerto Rican cultural celebration — surprisingly uncompromised, politically charged, and musically triumphant.

Rosalía's fourth album ditches pop for orchestral chaos — 13 languages, female saints, Björk, London Symphony Orchestra. Deliberately demanding, defiantly unlike anything before it.

Sabrina Carpenter's *Short n' Sweet* trades originality for irresistible personality. "Espresso" borrows heavily from Doja Cat, but "Taste" and "Please Please Please" prove her star power.

Brooklyn's Geese deliver a surreal, chaotic fourth album — sardonic dread, scrambled guitars, Van Morrison melodies undermined by absurdist wit. Brilliant and deliberately baffling.

Lily Allen returns after seven years with a razor-sharp, melodically strong album dissecting her open marriage — candid, stylistically diverse, and arriving at exactly the right moment.

Lily Allen ends her 7-year hiatus with *West End Girl*, a raw autofictional album dissecting her divorce from David Harbour — tabloid dynamite wrapped in pretty pop.

Lily Allen turns her tabloid divorce into a sharp, surprisingly tender album. Lightness carries real hurt this time — irony gives way to something rawer.

Lily Allen opens up about divorce, self-doubt, industry pressure, and her comeback album — brutally honest, funny, and refreshingly unfiltered throughout.

Lana Del Rey opens her Santa Monica studio ahead of *Lust for Life*, revealing her creative process, her 111-producer search, and her Tammy Wynette chair.

Journalist and self-confessed Lana fan goes behind the scenes of her Rolling Stone UK cover interview — anxiety, Hollywood, and rare candour included.

clipping.'s *Dead Channel Sky* resurrects Y2K cyberpunk via dial-up screech, gangsta rap grit, and adrenalized club beats — nostalgic in texture, unsettlingly relevant now.

Lana Del Rey opens up about *Lust For Life*, witchcraft, and LA's pull on her creativity — her most ambitious album yet.

Brooklyn teens who almost quit now lead Radio 1's Sound of 2026. Their chaotic, unfiltered third album *Getting Killed* made them rock's most exciting new band.

Lana Del Rey opens up about fame's brutal edges, creative reinvention after *Norman Fucking Rockwell!*, and finding unlikely serenity — from a car in a dark backyard.

Joe Brazil shaped Seattle's jazz scene through community education and mutual aid. His great-niece now works to revive his Black Academy of Music legacy.

Bad Bunny opens up about headlining Coachella, his Puerto Rican roots, and why he makes music entirely on his own terms.

Lana Del Rey gets candid about regretting old lyrics, collaborating with Stevie Nicks, navigating #MeToo, and the strange dangers of fame.

Lana Del Rey's Instagram post defending her lyrical themes sparked backlash. A longtime fan argues critics have consistently misread her artistic voice.

Bad Bunny finally plays Brazil, navigating debates over Latino identity. His first São Paulo show proves the reggaeton giant can conquer his last frontier.

Lizzy Grant flopped, rebranded as Lana Del Rey, and became a sensation — until fans discovered she'd buried her real identity and history.

Bad Bunny opens up in Spanish about Puerto Rican pride, gender-bending fashion, and his rise from grocery bagger to global superstar.

Lana Del Rey married an alligator tour guide, moved to Louisiana, and is releasing *Stove*, her most autobiographical country-leaning album yet.

Rosalía's *LUX* is a stunning artistic leap — orchestral, mystical, Björk-approved. A concept album about female saints that announces a genuinely maturing voice.

clipping.'s cyberpunk album drowns you in Gibson-inspired static, noise, and Daveed Diggs's razor-sharp bars. Dense, overwhelming by design — and worth the dive.

Rosalía's *LUX* blends opera, flamenco, and pop across 13 languages, inspired by Catholic saints. A jaw-dropping vocal showcase unlike anything else out right now.

Bad Bunny opens up in Puerto Rico about identity, homecoming, and his love-letter album *Debí Tirar Más Fotos*. Intimate, grounded, surprisingly candid.

Daveed Diggs' noise rap trio goes cyberpunk on *Dead Channel Sky* — breakbeats, rave samples, and modem sounds replacing their usual horror textures. Worth metal-open-minds' time.

Rosalía's *LUX* is technically stunning but culturally hollow, argues this critic — praising the artistry while condemning its Eurocentric erasure of Latina roots.

A country critic actually listened to Bad Bunny's Grammy-winning album and found something surprising — not hip-hop, but rich, traditional Latin music that resists American crossover.

Bad Bunny's new album blends Puerto Rican pride with heartbreak, using tourism as a metaphor for shallow love — his most personal work yet.

Geese's *Getting Killed* is an indie smash the critic genuinely can't decide on — grasping its raw appeal while finding it overreaching and underdelivering.

Brooklyn indie wunderkinds Geese discuss their chaotic, Kenny Beats-produced third album *Getting Killed* — including one very expensive day spent choosing a clap sample.

NYC post-punk band Geese discuss their genre-shifting sophomore album *3D Country*—surreal roots rock wrestling with generational anxiety, technological hyperreality, and apocalyptic Americana.

Brooklyn rock band Geese discuss their chaotic new album, Guitar Center bans, and the Mets—all between innings at Citi Field.

NYC's Geese discuss outgrowing post-punk on sophomore album *3D Country* — blending classic rock, Americana, and gospel while barely leaving their teens behind.

Brooklyn teens Geese are NYC's next buzz band—post-punk prodigies with music-industry bloodlines, a debut album dropping, and only 14 shows under their belt.

Everyone loves Geese's *Getting Killed* — except this writer, who gave it 5/10 and is genuinely questioning whether he's missing something.

Gen Z women are quietly opting out of dating—burned out by emotional labor and unready partners. Carpenter's new album captures the data-backed disillusionment.

Sabrina Carpenter — Taylor Swift's warmer, funnier, hornier support act — has cracked the mainstream with genuine pop craft and old-fashioned hooks.

Puerto Rico blames Bad Bunny's raunchy lyrics for social decline — while ignoring the austerity officials actually closing schools.

Bad Bunny opens up about Puerto Rican identity, fame's absurdities, and his bold new album — candid, self-aware, and sharper than his usual press.

Lana Del Rey publicly blasted NPR critic Ann Powers' *Norman F— Rockwell* review on Twitter. Powers clapped back, defending her critique unapologetically.

*Ultraviolence* sounds stunning, but Del Rey's lyrics recycle the same helpless-woman, bad-boyfriend caricature until the concept collapses under its own repetition.

Lana Del Rey's poetry collection blends spoken word, femininity, and raw sincerity. Cringe moments included, but it's more rewarding than critics suggest.

Deep lyrical dive into clipping.'s *Dead Channel Sky* as a genuine cyberpunk work — not just references, but a true entry in the genre.

Charli xcx's *Brat*-fueled era spans film, music, and cultural politics. A sharp look at how she's outpacing pop's boundaries without abandoning her hyperpop roots.

Rosalía's *LUX* earns a rare perfect score — a grand, mysticism-soaked meditation on femininity and divinity that refuses to play it safe.

Brooklyn teens Geese built a cult following before critics noticed. This piece tracks how press narratives—delayed, then intense—shaped the band's identity.

Lily Allen's *West End Girl* brutally dissects her divorce from David Harbour — and millennial women are making it a viral rallying cry.

Lily Allen in her own words: refreshingly unfiltered, exhausted, and already Googling her Pitchfork score. A portrait of a sharp pop star before American fame hit.

Lily Allen's *West End Girl* turns her real marriage collapse — cheating, sex addiction, humiliation — into pop's most searingly honest album in years.

Lily Allen's *West End Girl* turns her marriage breakdown into brutally sharp pop. A reminder she's one of Britain's most underrated storytellers.

Lily Allen discusses hating social media despite being defined by it, her moany new album, and why Wikipedia makes her look like a "cunt."

Lily Allen reflects on fame, social media distortion, and motherhood — pushing back on the "brutally honest popstar" label she never quite chose.

Rhino Records co-founder Richard Foos walked away after Time Warner absorbed the label and launched Shout! Factory to recapture that original fan-obsessed magic.

Thurston Moore, Byron Coley, and Mats Gustafsson finally publish their decades-in-the-making guide to free jazz's 1960–1980 golden era — obsessive, personal, essential.

Micky Dolenz, the last living Monkee, gives a rare three-hour deep dive into the band's full 60-year story.

Hearing "Only Shallow" on a late-night radio tape changed everything. Morrison traces how *Loveless* rewired his musical taste as a teenager.

Lana Del Rey opens up about family, childhood, and her most personal album yet. A decade-spanning portrait of pop's most atmospheric visionary.

Brooklyn teens Geese recorded debut album *Projector* in a basement, signed to Partisan, and are quietly becoming post-punk's next big thing.

The article couldn't load, so there's no content to summarize beyond the title's clear stance: Lana Del Rey's essay is dismissed as shallow and antifeminist.

Lana Del Rey reflects on being labeled "inauthentic" after *Born to Die*. Worth reading if you care about her artistic vindication arc.

Mati Klarwein's surrealist painting turned *Bitches Brew* into a visual landmark. Here's how that iconic cover came to define Miles Davis's jazz-fusion masterpiece.

Brooklyn indie band Geese discuss maximalist songwriting, label freedom, and how relentless touring sharpens their sound ahead of their AfterHours headlining show.

Brooklyn teen band Geese bond over Zeppelin and Pink Floyd, turning high-school jam sessions into something bigger. Worth reading if guitar music excites you.

Three new jazz releases reviewed: Vitous's ECM chamber-jazz odyssey with Spalding and DeJohnette stands out; Christelis offers atmospheric, guitar-led soundscapes.

*Sun Ra: Art on Saturn* collects 70+ handmade, psychedelic album covers from jazz visionary Sun Ra's Saturn label—the first book dedicated to this overlooked art form.

Bad Bunny became the world's most-streamed artist by fusing trap and reggaeton — and conquering global fame entirely in Spanish.

Herbie Hancock recalls how Miles Davis turned a wrong chord mid-performance into inspiration — reframing mistakes as creative fuel, not failure.

Vince Guaraldi's first-ever televised "Linus and Lucy" performance, filmed in 1964 — a year before *A Charlie Brown Christmas* made it iconic. Rare and worth watching.

Kenny Dorham's landmark 1956 live trumpet sessions get premium vinyl treatment in Blue Note's audiophile Tone Poet series, dropping April 24.

Rhino Records built genuine philanthropy into its DNA from day one — 167 employees log 10,000+ volunteer hours yearly, driven by soul, not strategy.

Lana Del Rey's sprawling *Did You Know There's a Tunnel Under Ocean Blvd* blends the profound and mundane into her most nakedly personal — and possibly greatest — record yet.

*Ultraviolence* silences Lana Del Rey's critics with a bluesy, cinematic step up from *Born to Die*. Darker, more cohesive, and deliberately unsettling — in the best way.

Lana Del Rey's sprawling seventh album rewards devoted fans but loses casual listeners in messy, undercooked ambition that rarely matches her 2010s peak.

Ann Powers praised Lana Del Rey's new album; Del Rey publicly disagreed on Twitter. A critic reflects on artist pushback and the limits of review.

Lana Del Rey's *Ultraviolence* emerges post-hype as her most confident statement yet — dark, nostalgic Americana that transcends the noise surrounding her polarizing persona.

Lana Del Rey's ninth album shines when she ditches the sad-girl persona—family, trauma, and raw self-reflection make it her most human work yet.

Geese's *Getting Killed* captures soaring euphoria and crushing heartbreak in equal measure. A must-read for fans of Brooklyn's fastest-rising rock band.

Geese's *Getting Killed* is their most ambitious record yet — chaotic, creative, and wholly their own. A strong contender for indie rock album of the year.

NYC band Geese blends Springsteen, Swans, and country chaos into a calculated, uncanny rock album that's angelic, violent, and distinctly American.

Geese's *Getting Killed* is their best album yet — chaotic, self-aware indie-rock wrestling with loneliness, doom, and modern life without losing its gritty edge.

Lana Del Rey's *Ultraviolence* drowns in theatrical drama and vocal conviction — but its muddled narrative raises style-over-substance concerns worth debating.