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Chad Tepper Wasn’t Available, So We Interviewed His Dog Instead
Global Music Release Day Switches to Fridays on July 10
HOLYCHILD Break Down Their Top 10 ‘Brat Pop’ Influences
‘Bob Dylan in the ’80s’ Tribute Comp Gives a Maligned Era the Respect It Deserves
Freddie Gibbs and Madlib Craft a Deft, Eccentric Street-Rap Epic on ‘Pinata’
Foster the People Settle for Modern-Pop Pastiche on the Bloated ‘Supermodel’
Kylie Minogue Is a Carefree Pop-Star Chameleon Once Again on ‘Kiss Me Once’
Perfect Pussy Revel in Their Hardcore Fury on ‘Say Yes to Love’
Tensnake’s Occasionally Sublime ‘Glow’ Is Another Shot in the Pop-House Revolution
The Shrine Serve Up Some Primo 21st-Century Skate-Rock on the Scuzzy, Virile ‘Bless Off’
The Men Bash and Jangle Through the Joyously Aimless ‘Tomorrow’s Hits’
The Drive-By Truckers’ ‘English Oceans’ Gets Stuck Between a Groove and a Rut
Rick Ross Runs Out of Self-Mythologizing Steam on the Dull-Witted ‘Mastermind’
Pharrell Walks on Pop-R&B Sunshine With the Daring, Infectious ‘G I R L’
Real Estate Get a Little Less Chill and a Little More Proactive on the Surprisingly Bracing ‘Atlas’
ScHoolboy Q’s ‘Oxymoron’ Both Transcends and Succumbs to Gangsta Rap’s Baser Impulses
Beck Harvests Some West-Coast-Folkie Sunlight on the Stark, Lovely ‘Morning Phase’
The Notwist’s Droning, Clattering ‘Close to the Glass’ Zones Out on the Autobahn
Angel Olsen’s Stark, Fraught ‘Burn Your Fire for No Witness’ Is Equal Parts Heat and Smoke
Phantogram Conjure Their Own Spell of Warm, Eerie, Nightmarish Melancholia on ‘Voices’
Serenity Never: Lydia Loveless Brings a Gritty, Witchy Arsonist’s Zeal to ‘Somewhere Else’
NYC Art-Pop Fixtures Cibo Matto Return With the Charmingly Unnerving ‘Hotel Valentine’
Katy B Finds a Sophisticated, Spellbinding Dance-Floor Sweet Spot on ‘Little Red’
Tennessee Rapper Isaiah Rashad Proves Himself Worthy of Black Hippy on ‘Cilvia Demo’
Sun Kil Moon Drop 5,000-Plus Words of Sad-Bastard Knowledge on the Balls-Out, All-In ‘Benji’
Polish Metal Gods Behemoth Come Back Haunted on Sinister, Thrilling Apex ‘The Satanist’
Broken Bells Bark at the Moon on the Nervy, Red-Blooded ‘After the Disco’
Quilt’s ‘Held in Splendor’ Is a Frayed, Captivating Psych-Pop Odyssey
Uncle Tupelo’s ‘No Depression’ Reissue Fetes a Hard-Luck Classic That Birthed a Whole Genre
Warpaint Walk the Fine Line Between ‘Hypnotic’ and ‘Snoozy’ on Album No. 2
Tink’s ‘Winter’s Diary 2: Forever Yours’ Stars a ’90s Baby Adept at Grown-Up ’90s R&B
Dum Dum Girls Convene Their Own Dead French Poets Society on ‘Too True’
Sharon Jones and the Dap-Kings Mine Cathartic Joy on ‘Give the People What They Want’
James Vincent McMorrow Sculpts Alt-R&B Into Intricate New Shapes With ‘Post Tropical’
Bruce Springsteen Rages Against Coherence on Awkward Remakes of ‘High Hopes’
Stephen Malkmus & the Jicks Both Mock and Slyly Embody Middle Age on ‘Wig Out at Jagbags’
Angel Haze Brings Too Many Flowers and Not Enough Fire to the Chaotic ‘Dirty Gold’
Roc Marciano Builds His Own Exquisite Crime-Rap Universe on ‘Marci Beaucoup’
Childish Gambino’s Sloppy, Erratic ‘Because the Internet’ Offers Only Unintentional LOL’s
Snoop Dogg and Dam-Funk Take the Ol’ Mothership for a Lazy Spin on ‘7 Days of Funk’
Heatsick’s ‘Re-Engineering’ Is an Easy-Listening Grad-School Thesis You Can Dance To
R. Kelly’s Sexy But Troubling ‘Black Panties’ Is a Throwback for Both Good and Ill
Numero Group’s ‘Purple Snow’ Captures the Pre-Prince Weirdness of Minneapolis Funk and Soul
Britney Spears Goes Blanker Than Usual on the Nightmarish ‘Britney Jean’
One Direction Pour Some Sugar on You on the Audacious, Priapic ‘Midnight Memories’
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