Andy Cush

Read Andy Cush’s review of the album.

Read Andy Cush’s review of the album.

On what feels like a companion to Time Skiffs, Animal Collective explore some surprisingly traditional psych-rock modes, but without abandoning their essential trickster spirit.

We may never know exactly how cannabis impacts Seth Rogen’s work, because, well, he’s never not stoned. “I just smoke weed all day, every day, no matter what I do,” he says, punctuating the remark with his unmistakable guttural laugh and a little wave of the joint in his hand. “Weed is just an intrinsic part of my functionality. I know it would be less fun if I wasn’t high all the time.” Listening to music is another of his constant pastimes. And like many people who are enthusiastic about both,…

We may never know exactly how cannabis impacts Seth Rogen’s work, because, well, he’s never not stoned. “I just smoke weed all day, every day, no matter what I do,” he says, punctuating the remark with his unmistakable guttural laugh and a little wave of the joint in his hand. “Weed is just an intrinsic part of my functionality. I know it would be less fun if I wasn’t high all the time.” Listening to music is another of his constant pastimes. And like many people who are enthusiastic about both,…

The latest archival set collects demos and live recordings from the pivotal years between the stark solo songs of For the Roses, her full-band masterpiece Court & Spark, and the impressionistic jazz-pop of The Hissing of Summer Lawns.

No stranger to singing other people’s songs, Chan Marshall attempts her most ambitious cover project yet: an album-length recreation of a Dylan concert that changed the course of rock history.

For decades, the Mississippi septuagenarian has self-released idiosyncratic fusions of blues, bebop, zydeco, ambient, and modern composition. This reissue confirms him as a true American original.

A new reissue of the Stockholm multi-instrumentalist’s 2020 album highlights his knack for making a studio sound like a lightly psychedelic, breezy early-evening DJ set.

Performing with her extended jazz ensemble, the New York guitarist makes music that hangs in the balance between composition and improvisation, structure and dissolution.

After a 2018 album hailed as a return to form, the duo shifts to slick, big-tent pop pastiche—Britpop, power ballads, ’80s excess—delivered with arched brows and palpable yearning.

As Mdou Moctar’s band filed into the Guitar Center on Manhattan’s bustling 14th Street one rainy afternoon in late January, bassist Mikey Coltun gave rhythm guitarist Ahmadou Madassane a fraternal clap on the shoulder and said, “Welcome to paradise.” He was only half joking. Coltun lives in the East Village, a bit further downtown, but the rest of his bandmates had traveled much farther to get there. They hail from Niger: Madassane and drummer Souleyman Ibrahim live in the city of Agadez, and Mo…

When I pull up to Katie Crutchfield’s stylish Kansas City, Missouri, ranch house around sunset, she has incense burning, an LP of Townes Van Zandt’s 1987 album At My Window spinning on the turntable, and footage of a peaceful waterfront scene streaming on the TV. She’s also ordered a few plates of food from her favorite barbecue spot for us to eat. (She advises me to put some barbecue sauce on the mac and cheese.) “Are you ok w dogs?” she’d texted me the night before. “I have one and she’s tiny…

The virtuoso saxophonist’s 1969 album with Herbie Hancock, Ron Carter, and Jack DeJohnette is an essential document of a transitional moment in which everything in jazz seemed up for grabs.

Recorded straight to tape with a small group of close confidants, the Big Thief singer’s latest solo album is free-flowing and intuitive, reveling in the space between spontaneity and impermanence.

This meeting of punk and jazz heavyweights sidesteps contemporary trends; instead we’re treated to four players finding common ground as they slip between genres.

On his third album as bandleader, the star saxophonist tries to balance his habitual gravitas with a newfound sense of fun. But party music doesn’t come to him as naturally as heroic high drama.

The singer and composer’s wondrous fourth album deepens the sound of her boundless folk-jazz style. Its gestures are bold, romantic, and often unforgettable.

Stricken by a disease that left her unable to sing, the British songwriter recruits a cast of guest vocalists for a set of songs that toy with assumptions about authorship and interpretation.

The 24-year-old Providence musician’s 15th album bursts with imagination, complexity, and feeling. The abundance of ideas might seem excessive if it weren’t so carefully arranged.