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Sunday Service Choir: Jesus Is Born
by Shane Cashman on 8th January 2020 at 6:00 am
Kanye West’s executive-produced gospel album is the most realized music to come from this era of his career. The production and the choir’s dynamic power creates an almost hallucinatory effect.
Lady Lazarus: Impossible Journey of My Soul Tonight
by Brian Howe on 8th January 2020 at 6:00 am
Produced by Beau Sorenson and recorded at John Vanderslice’s Tiny Telephone, Melissa Ann Sweat’s fourth album under the alias is a searching work of elemental folk minimalism.
Aleksi Perälä: Resonance
by Louis Pattison on 8th January 2020 at 6:00 am
The Finnish producer continues his streak of luminous electronic releases with an ecstatic, body-moving, and curiously serene collection of techno bangers.
Karin Hellqvist: Flock
by Seth Colter Walls on 8th January 2020 at 6:00 am
The Swedish violinist’s first album-length recording as a solo artist confirms both her uncompromisingly experimental instincts and substantial musical gifts.
La Luz de la Esperanza
by Matthew Ismael Ruiz on 7th January 2020 at 6:00 am
The Latinx artist reimagines traditional Mexican ranchera folk songs with a goth edge and a lavish, telenovela-style production.
Leif Vollebekk: New Ways
by Amanda Wicks on 7th January 2020 at 6:00 am
Conceived as a companion piece to 2017’s Twin Solitude, the Canadian songwriter’s fourth album is a dialogue with the person he’s been.
A Winged Victory for the Sullen: The Undivided Five
by Brian Howe on 7th January 2020 at 6:00 am
The neoclassical ambient duo’s first proper album in nine years pays tribute to the mystical painter Hilma af Klint in stirring strings, melancholy fanfare, and a winking hint of self-awareness.
Ariana Grande: k bye for now (swt live)
by Dani Blum on 7th January 2020 at 6:00 am
Ariana Grande’s live album is both a capsule and a capstone, encompassing a nine-month, 102-show tour at what might be the peak of her career.
Rrose: Hymn to Moisture
by Philip Sherburne on 6th January 2020 at 6:00 am
Operating under the alias Rrose, the Californian Seth Horvitz deploys the time-honored materials of techno to produce something destabilizing and new.
Travis Scott: JACKBOYS
by Sheldon Pearce on 6th January 2020 at 6:00 am
The newly minted rap superstar’s obligatory label compilation is more merch bundle than album.
by Nathan Smith on 6th January 2020 at 6:00 am
The debut album from this Swedish multi-hyphenate, an associate of Yung Lean and Yves Tumor, trades hip-hop for an expressive—and surprisingly pretty—take on contemporary pop.
Macseal: Super Enthusiast
by Ian Cohen on 6th January 2020 at 6:00 am
The Long Island emo outfit pushes the classic poison-pen sound into brightly colored power-pop territory.
Peter Gabriel: So
by Eric Harvey on 5th January 2020 at 6:00 am
Each Sunday, Pitchfork takes an in-depth look at a significant album from the past, and any record not in our archives is eligible. Today, we revisit Peter Gabriel’s 1986 art-pop masterpiece, a turning point in the commercial globalization of pop music.
Roland Tings: Salt Water
by Nathan Smith on 4th January 2020 at 6:00 am
Inspired by Australia’s lush temperate rainforest, the Melbourne producer’s second album emphasizes melody and background texture more than big drops or bass lines.
Emily Yacina: Remember the Silver
by Cat Zhang on 4th January 2020 at 6:00 am
The New York singer-songwriter deftly captures indie-pop longing, though her musical gestures can feel a bit lifeless.
by Philip Sherburne on 4th January 2020 at 6:00 am
The debut album from this New England-based producer blends ambient, techno, and house into a single sumptuous mood, suffused in tape hiss.
Grace Cummings: Refuge Cove
by Sam Sodomsky on 3rd January 2020 at 6:00 am
The Melbourne songwriter’s classic influences guide her toward an album that feels proudly out of time. Its nine songs feel like variations on one stark, psychedelic vision.
Dai Burger: Bite the Burger
by Reed Jackson on 3rd January 2020 at 6:00 am
The Queens rapper-singer continues to refine her joyfully lascivious, sex-positive sound, but her best moments are the quiet ones.
Saariselka: The Ground Our Sky
by Allison Hussey on 3rd January 2020 at 6:00 am
With pedal steel, synthesizer, and a whisper of voice, Marielle Jakobsons and Chuck Johnson create rippling soundscapes as soothing and engulfing as a warm bath.
Short Fictions: Fates Worse Than Death
by Ian Cohen on 2nd January 2020 at 6:00 am
The Pittsburgh band’s throwback emo revivalism casts a hometown identity crisis in the harsh light of climate change. Their debut has the conceptual heft of an album twice its length.
Eddy Current Suppression Ring: All in Good Time
by Evan Minsker on 2nd January 2020 at 6:00 am
The Australian garage rock band’s first album in eight years is a modest and welcome comeback even if they don’t crash out of the speakers like they once did.
by Matthew Ismael Ruiz on 31st December 2019 at 6:00 am
The urbano star’s third album pushes him beyond his comfort zone as a romantic reggaetonero—and abandons some of the qualities that once made him unique.
Forest Management: After Dark
by Marc Masters on 30th December 2019 at 6:00 am
Sampling a worn vinyl copy of Debussy’s La Mer, the Chicago musician creates short, impressionistic pieces that fuse ambient, drone, and noise; they’re easy to get lost in.
Year One Demos
by Nina Corcoran on 28th December 2019 at 6:00 am
Cleaned up and newly remastered, these demos are bright and captivating, a rare look at the iconic emo band's sketchbook.
Robert Ashley: Improvement (Don Leaves Linda) / Automatic Writing
by Ruth Saxelby on 27th December 2019 at 6:00 am
Two reissues of the late composer’s work highlight the attention he paid to the malleability of language and the way its sound often conveys more than its substance.