The exemplary vocal consort Alamire and a small instrumental group offer top-notch performances of 15th century English carols.
Black Prairie is an impressive string band ensemble, and with the addition of Annalisa Tornfelt's vocals, this second album is even better than the first.
Bob Mould returns to the molten power pop of Sugar on the exhilarating The Silver Age.
The Parisian producer's charming debut album is full of disco-pop that's equally glamorous and down to earth.
Layered viewpoints, bittersweet situations, and complicated anger flow out of the underground rapper's politically minded album, one of his most compelling efforts yet.
The Canadian pop star's second album delivers on the promise of her smash hit "Call Me Maybe."
After years as a sideman, this multi-instrumentalist steps into the spotlight with a deftly conceived album of psyched-out soft rock.
Kill My Blues finds Tucker as impassioned as in her days with Sleater-Kinney, but with more room for curiosity and exploration in her music.
Dave Douglas' new quintet and special guest vocalist Aiofe O'Donovan perform a stellar set of hymns, folk songs, and originals.
Bold and brainy, this collaboration between St. Vincent's Annie Clark and David Byrne features some of the most vibrant work either has produced.
Startling textures and nursery-rhyme melodies make Deerhoof's eleventh album initially jarring but ultimately addictive.
Dinosaur Jr. explores a variety of new sounds, tempos. and textures on I Bet On Sky.
Bodyparts follows Dragonette's smash single "Hello" with some of their most confident pop yet.
Dwight Yoakam returns with 3 Pears, a colorful, adventurous album that ranks among his very best.
The third Dylan Mondegreen album is a quiet masterpiece of thoughtful and melodic singer/songwriter sounds framed by Ian Catt's brilliantly warm and rich production.
Here, the rapper comes off fast like MGK but literate, articulate, and eclectic enough to deserve a spot on the Stones Throw roster.
With weet vocals, little bells, arpeggiated guitar, and percolating synthesizer, Iha’s songs sound like murmured lullabies sung in wistful recollection of long-lost teenage loves.
Jens Lekman's third album details recent heartbreaks with a sound that's both warmer and more soft rock-influenced than previous efforts.
With strong tunes and a unique synthesis of tight performances and tasteful noise, this is the group's most fully realized album to date.
![Album cover for The Master [Original Motion Picture Soundtrack]](https://fastly-s3.allmusic.com/release/mr0003745213/front/220/9Gb8cgSSWHj4ccBCT9x2h4Af7E_1E-2MlBBPmPAXRBU=.jpg)
Greenwood's eerie score provides the perfect backdrop to this complex tale of a spiritually lost sailor and a charismatic religious leader.
Kathy Mattea revisits coal country and her native West Virginia with a stellar cast on the powerful Calling Me Home.
Los Angeles Master Chorale sings with gorgeously blended tone and beautifully shaped phrasing in these lush, luminous works by Górecki.
Melody's Echo Chamber is art pop at its best, combining sonic experimentation and beautifully written, played, and sung songs, with production by Tame Impala's Kevin Parker.
Playing and conducting from the keyboard, the brilliant Mitsuko Uchida presents two of Mozart's most popular piano concertos.
On For My Parents, Japan's Mono all but transcends post-rock entirely, creating their own genre in the process.
Murder by Death shine a little light in the darkness on their sixth album, Bitter Drink, Bitter Moon.
The third solo album by Drive-By Truckers' Patterson Hood sounds the least like a Truckers release, but captures the emotional resonance of their finest work.
The superlative musicality and powerful emotional range of the performances put this version in the running with the finest recordings of the War Requiem.
Seventeen years after his first Nighttime World, Robert Hood produces some of the most moving techno of his career.
Working again with Oliver Wood as producer, Copeland takes another step away from being a blues shouter toward a more restrained rock/gospel/R&B groove.
Sumptuous, expansive orchestral playing and some remarkable vocal performances make this set a good introduction to the Met's impressive Ring cycle.
Sweater Girls' debut album is a delightful indie pop delicacy, heavily indebted to the past but brimming with youthful energy and full of sweet fun.
On Made Possible, the Bad Plus compellingly extend the boundaries of the jazz piano trio to the breaking point.
The Fresh Onlys' third album is their most polished yet, and with great songs and consistently exciting performances, it's also their best album overall.
This collection of 32 unreleased tracks from the group's early days is a colorful blend of coulda-been hits and fun distractions.
Combining Castlemania's fractured pop and Carrion Crawler/The Dream EP's ferocious rock with baroque orchestral accents, Putrifiers II looks backward while bounding forward.
Another fascinating, alternate look at the Factory label, this two-disc compilation goes far beyond the likes of Joy Division, New Order, and Happy Mondays.