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KARLHEINZ STOCKHAUSEN
THE INCREDIBLE STRING BAND
WHITE NOISE
HARRY SMITH
‘WOMAN IN THE DUNES’
‘THE COLOR OF POMEGRANATES’
ARAABMUZIK
CAN
CLIMAX GOLDEN TWINS
‘PREDATOR’
‘SWAMP THING’
THE CRAMPS – ‘BAD MUSIC FOR BAD PEOPLE’
ANDREI TARKOVSKY
THE KINKS
CATHERINE RIBEIRO
AVEY TARE AND GEOLOGIST’S HIGH SCHOOL PROJECT
NIRVANA
LUC FERRARI
GROUP DOUEH
VLADISLAV DELAY – ‘MULTILA’
ARIEL PINK’S HAUNTED GRAFFITI
The Animal Collective Centipedia
Slaughterhouse on Eminem, Hot MILFs, Their Stinky Video
A Revealing DOOM Q&A: Supervillain on Nas’ Pool Parties, His Rap-Hating Mom
Yeasayer on Not Being the ‘New Cool Band’ Anymore
Band of Horses Get Back in the Saddle For New ‘Mirage Rock’
Two Door Cinema Club Stare Down Their Own Worst Enemy
How Pearl Jam Shaped the Gaslight Anthem’s ‘Handwritten’
Baroness’ John Baizley Battles Social Anxiety, Fatherhood Fears, and Metal Purists
Beak>’s Geoff Barrow on Stunning New LP, Getting Back to Portishead
The Very Best on Hanging with Hyenas and Ezra Koenig
Krist Novoselic on Punk-Spirited Politics and His Accordion Obsession
Vampire Weekend and the Walkmen Frontmen Grill Each Other
Full Circle: Inside Dispatch’s First New Album in 12 Years
Icona Pop Talk Shop: Swedish Duo on Romance and Revenge
Serengeti on His Hip-Hop Metafiction Therapy Session ‘Kenny Dennis EP’
Future of the Left on Hating the Olympics, Drugs, and SPIN Commenters
Usher on His New LP, Mentoring Justin Bieber, and Monsters of Folk
Rustie’s Roots: Producer on Dirty Albums and Joyful Noises
Ween’s Aaron Freeman on ‘Sober Ninjas’ and the Song That Made Him Cry
Geddy Lee’s Ludicrous Machines: Rush Frontman Talks New Album, Tour
SpaceGhostPurrp Isn’t Sure if Nicki Minaj Can Hang With Him
Rye Rye: ‘I’m Trying to Be a Role Model’
Edward Sharpe’s Alex Ebert: ‘We’re Not the ’60s Ride At Disneyland’
Shirley Manson Talks Through Garbage’s Discography
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