Britten's response to the collective bloodshed of the 20th century remains as vital and visceral as it was when his Requiem premiered more than 50 years ago. It was commissioned for the reconsecration of Britain's Coventry Cathedral, which had been destroyed by a Nazi bomb raid in 1940.
The British duo makes music using clips from old British government propaganda films as narratives for songs engineered to inspire dancing and general chaos. Its music explores the past as it looks into the future, with music meant for clubs that doesn't fit neatly into some EDM subgenre or nightlife cliche.
David Tiso concocts gnarled, hydra-Zorn headbangers like some kind of metal mad scientist on Ephel Duath's fifth album. Producer Erik Rutan (Hate Eternal, Morbid Angel) grounds the insanity with a vicious low-end.
Ten years after its release — and seven months after the death of singer Jason Molina — The Magnolia Electric Co is still an ambitious and unsteady beast, strangely graceful and crying out to be explored. Throughout the album, Molina sings of his own smallness and struggle, but also the stubbornness inherent in standing up as the gravitational forces of grief try to pull him down.
The Welsh singer's third album conjures images of Tom Verlaine's band Television and Velvet Underground collaborator Nico. But Cate Le Bon is no follower: She's a strong songwriter and a powerful, sultry singer with her own distinct phrasing.
Joel and Ethan Coen's new film looks at the early-'60s Greenwich Village folk scene, as populated by a brooding moocher played by singer-actor Oscar Isaac. Its soundtrack, like the movie itself, reflects the way many different strains of folk music collided in the early '60s.
The group produced some of the most pleasurable alternative rock of the '90s, and is back with its first new album in fourteen years. The ten new songs on Magic Hour go down easy, with lessons in fun, loyalty and self-appreciation.