Follow the jibber jabber on the music internet and it sounds like emo — the broadly defined, male-dominated, compositionally complicated, often pained offshoot of American punk rock — is back. But what kind of emo has returned, exactly? And is it the beloved or the maligned parts?
Listeners connect with music in countless ways. Essays and interviews about why we love the music we love and questions about what our choices as fans mean.
Underground dance music is retreating from the EDM juggernaut by moving toward tastefulness. But in dance music, as in life, the line between polite and tedious is perilously thin.
It's almost as if, on The Marshall Mathers LP 2, he's trying everything to be accepted and unacceptable, all at once. Yet his ability to be lyrically captivating through it all is astounding.
In these days of dusty, overbooked festivals run rampant, a smooth-sounding, tight bill with the promise of a good-looking, down to party hometown crowd makes that cash register sing.
In New Orleans this weekend a Red Bull-sponsored battle of the bands corporatized a tradition but still hit all the right notes.
The masquerading group that played in Brooklyn this weekend was clearly neither a set of wide-eyed naïfs dropping their first 12", nor the band that made sneaking out of your parents house feel like toppling the Berlin Wall.
Recent collections of the musicians' outtakes enhance our understanding of transitional portions of monumental careers. That doesn't make them essential, though.
It's official: Chic cofounder and sole survivor Nile Rodgers is now the Susan Lucci of the Rock Hall.
Growing pains aside, the festival is beginning to transcend generations and geography.
The money that flowed through the music business in the '90s and the quality of the music released then helped to create a fat spectrum of hip-hop music — enough that Tuesdays, the traditional release day for albums, was often full of tough decisions. This list notes one such complicated day from each year of that decade.