Sharon Van Etten invites a handful of artists to cover songs from her 2010 album epic. These new versions—played by Fiona Apple, Lucinda Williams, and more—reveal the music’s healing power and complexity.
The Chicago guitarist and the North Carolina multi-instrumentalist work wonderfully together and channel many spiritual influences with great warmth and ease.
Inspired by a panoply of club-music styles like gqom, UK funky, and tribal, the Mexican producer’s music revels in eroding barriers between percussive techniques.
The Wand frontman’s second solo record blows open the chamber pop of his first for a lysergic and unsettling take on cosmic Americana.
One year after their stages went dark, live music workers from across the country talk about what makes their spaces so important and how you can help them.
Over the last 12 months, the people behind this welcoming destination were forced to ask themselves: What is the role of a nightclub during such tumultuous times?
Neneh Cherry talks about the one song she wishes she wrote, “Across 110th Street” by Bobby Womack.
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 examine the young South Carolina rapper’s profoundly influential moment in the spotlight.
Sir Paul presents a resequenced, alternate-universe version of last year’s trilogy-completing release, as performed by Beck, Phoebe Bridgers, St. Vincent, Dev Hynes, Damon Albarn, and more.
Decades into their career and on their 15th album, the death metal legends have become their genre’s Rolling Stones: iconic, verging on cartoonish, always reliable.
The UK electronic-pop trio’s third album draws on a renewed sense of extroversion and energy, which can’t always overcome its lyrical and production missteps.