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New Music
All
All Eyes On
Blast Rites
Blue Chips
Daybreaker
Difficult Fun
Lyrics
Performances
In My Room
Sets
SPIN Sessions
Spotlight
Artist x Artist
Day in the Life
15 Minute Live Performances
Reviews
News
Features
5 Years
20 Years, 20 Questions
Altered State
Exit Interview
Interviews
Oral History
The SPIN Interview
SPIN TV
Lists
5 Albums I Can’t Live Without
Best Albums
Best New Artists
Best of So Far
Year-End Lists
Archives
1980s
1990s
2000s
SPIN 35
Impact
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Garrett Kamps
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Archives for Garrett Kamps
Mastodon Talk New Album
Emperor of Sand
and What They Call “Funderwear”
Q&A: Lemonade Talk New York’s Music Scene and Surfing
Q&A: Tracing Royal Blood’s Unclassifiable Rise to Fame
Pennybirdrabbit Keeps It Real (Cheap)
American Hustle: Nikki Lane on the Value of Honest Work
Porter Robinson Invents Shoegaze-EDM on Dazzling ‘Worlds’
Q&A: Wayne Coyne Talks Miley, Ke$ha, and Flaming Lips’ ‘Sgt. Peppers’ Tribute Album
Lusine Splices Decibel Fest Highlights on Exclusive Mix
Deadmau5 Disrupts EDM With the Sprawling, Awesome ‘While (1<2)'
Hundred Waters Run Deep
Watch Broken Twin’s Haunting Cover of ‘You Can’t Wrap Your Arms Around A Memory’
Broken Twin Commands Devastating Darkness on ‘May’
Damon Albarn’s Modern Life Is Rubbish on Endearingly Great ‘Everyday Robots’
Rhythm & Snooze: From Sohn to Chet Faker, A Global Group of Artists Explore the EDM-R&B Axis
Review: Thievery Corporation, ‘Saudade’
Post-Rock Supergroup Inventions Conjure Transfixing Debut
Q&A: Neil Young Plots Retro-Tech Revolution With Pono, New Album ‘A Letter Home’
Tyler, the Creator Nearly Incites a Riot at SXSW
Foster the People Settle for Modern-Pop Pastiche on the Bloated ‘Supermodel’
Jay Z and Kanye West’s SXSW Concert Was Masterful but Predictable
Neil Young Pitches Pono Music Service at SXSW as Alternative to Digital ‘S—t’
Skrillex (and Dave Chappelle) Staged a Bay Area Takeover
Sun Kil Moon Drop 5,000-Plus Words of Sad-Bastard Knowledge on the Balls-Out, All-In ‘Benji’
Warpaint Walk the Fine Line Between ‘Hypnotic’ and ‘Snoozy’ on Album No. 2
Is Beats Music All It’s Cracked Up to Be?
Preaching to the Converted: Chvrches Kick Off Tour in Oakland
Cut Copy Indulge the Banal, Vapid Side of ’90s House on the Constricting ‘Free Your Mind’
Cults’ ‘Static’ Is a Forward-Thinking Breakup Record That Actually Respects Itself, and You
King Krule’s ‘6 Feet Beneath the Moon’ Is the Best ‘Steely Dan Gone Dubstep’ Album of 2013
Pretty Lights, ‘A Color Map’ (Pretty Lights Music)
The Lonely Island, ‘The Wack Album’ (Republic)
Daft Punk, ‘Random Access Memories’ (Columbia)
FIDLAR, ‘FIDLAR’ (Mom + Pop)
Foals, ‘Holy Fire’ (Warner Bros.)
Skrillex, ‘Bangarang’ (OWSLA/Big Beat/Atlantic)
Review: Feist, ‘Metals’
Review: James Blake, ‘Enough Thunder EP’
Apparat, ‘The Devil’s Walk’ (Mute)
Seth MacFarlane, ‘Music Is Better Than Words’ (Universal Republic)
Laura Marling, ‘A Creature I Don’t Know’ (Ribbon Music)
IMPACT
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Mental Health
Road to Madness: The Dangers of Touring and How Musicians Cope
Addiction
The Toll of Living Life by the Drop: Margo Price Tells Her Truth
Addiction
Capricorn Records: The Rise and Drug-Addled Fall of the Label That Launched Southern Rock
Community
Taking On AC/DC Taught Me Why Most Music Biographies Suck
more from spin
The Apocalypse Is Coming:
Knock at the Cabin
Review
The Tallest Man on Earth Gets a Lift From Sylvan Esso, Bon Iver Pals on
Henry Street
The Old-School Allure of Inhaler
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