Lars Gotrich

Can made music from an imaginary country, one with its own traditions and language — which means none at all. In its work, jazz, funk, electronic, psychedelic and minimalist music ran wild through impossible valleys and fantastic mountaintops. Some call it krautrock by virtue of the band's German home base in Cologne. Most just call it Can.

Calvin Harris has a habit of making ubiquitous summer jams.

We stayed up late, damaged our ear sockets and gave into the ecstasy of live music at SXSW: Diet Cig, Lizzo, Moor Mother, Sleigh Bells, S U R V I V E, Anna Meredith, Weezer, The Revolution's Prince tribute — even Garth Brooks. Here are 50 photos from the festival shot by Adam Kissick, with a few by our own Bob Boilen.

There is metal between those strings. In a video for "Limonium," Brooklyn-based composer Kelly Moran interrupts the stretched piano wire with corkscrews, forking the paths of sound.

Katy Perry's "Chained To The Rhythm" is one the year's low-key-subversive pop songs with a title that suggests Top 40 pop, but is actually about how They Are Controlling You. WAKE UP SHEEPLE.

"Turn it up, keep it on repeat / Stumbling around like a wasted zombie / We think we're free / Drink, this one's on me."

On Tuesday, Feist's new album, Pleasure, was announced with a release date of April 28 — amusingly, to the surprise of Leslie Feist herself. Now we have the title track, her first new original song in six years.

Sometimes the hard-working, completely badass punks win. Downtown Boys signed to Sub Pop recently, an open invitation for a wider world to hear the Rhode Island natives' wild, bilingual, no-filler, can-still-throw-down punk rock.

Feist has been known to take her time between albums, but it has been a long stretch since 2011's Metals.

PWR BTTM is goofy as hell, like we could ever forget. The fab rock 'n' roll duo's "Answer My Text" is the latest single from their upcoming Pageant, a nervous flirtation wrought in emojis and a "funny joke from that TV show you said that you like."

Ahead of a long string of dates with Kilo Kish — dubbed The Life Aquatic Tour — the Long Beach rapper Vince Staples has released a new track. "BagBak" is punchy piece of Detroit club music with gritty beats that sound like DJ Assault mining Kraftwerk for dirt.

There's an electric thrill to Caddywhompus not heard in too many guitar and drum duos. Where others examine the extremes of the spare or the loud, Chris Rehm (guitar, vocals) and Sean Hart (drums) mine math-rock, frenetic punk and the bombastic end of pop to generate a signature, euphoric sonic boom.

Well, you can't deny the title. Blondie has announced its 11th album, Pollinator, with lead single "Fun," a disco-heavy new wave track that recalls the Blondie of yesteryear, which was written by TV On The Radio's Dave Sitek.

Geneviève Castrée died in July. She made deeply searching music as Ô Paon and Woelv, and illustrated comic books with the same emotional intensity. She was also the wife of Mount Eerie's Phil Elverum and the mother of their child. A Crow Looked At Me, written and recorded last fall, is an album-length response to Elverum's past year, and today brings its first song, "Real Death."

Members of the Philly punk scene and from across the country have come together for Don't Stop Now, a compilation of covers that benefits the American Civil Liberties Union. It was released today via Bandcamp, with this note:

This compilation is an expression of love, anger, hope and protest on inauguration day. Let it serve as a reminder that the fight for justice is not over, that the celebration of diversity is essential to progress, that we must work together for what is fair and good. Can't stop. Won't Stop. Don't stop now.

William Onyeabor, the electro-funk musician beloved to DJs and crate diggers, died Monday following a brief illness at his home in Enugu, Nigeria. He was 70.

When Agalloch broke up last May, it came down to a classic struggle over direction between the band's founder and the musicians who'd made it such a creative and somewhat mystical force in black metal. Aesop Dekker, Don Anderson and Jason Walton have since formed Khôrada with Giant Squid's Aaron Gregory, and are currently working on their debut album. Pillorian, the new band from guitarist and vocalist John Haughm, features members of Maestrus and Uada, and has just released its first single.

Brian Eno's new ambient work, Reflection, is just that: 54 minutes of what sounds like plinking chimes, rippling vibraphone and deep synth tones mirroring a parallel world. Released on Jan.

"What did you get from Santa, honey?"

We dropped a classic today (what)
We did a tablet of acid today
Lit joints with the matches and ashes away
SKRRRT! We dash away
Donner and Dixon, the pistol is wrapped on the way

Trent Reznor promised new Nine Inch Nails material by the year's end, and has now delivered with Not The Actual Events. The EP, recorded with co-conspirator and now official band member Atticus Ross, is among Reznor's heaviest and most manic work. "Branches/Bones" and "The Idea Of You" team with chaotic punk, and the industrial doom of "She's Gone Away" and "Burning Bright (Field On Fire)" rivals Godflesh in its gloomy clank.

Grouper's music exists between the hues of memory, reflected in quiet swirls of guitar and Liz Harris' voice. Her most recent album, 2014's Ruins, stripped away much of the ambiance (to chilling effect) and played with environment as an instrument.

Run The Jewels has always been heavy as hell, a hip-hop duo that can hang with leather-clad metalheads as much as the club.

After much criticism around last year's round of '70s rockers and no women, the Rock & Roll Hall of Fame announced its nominees for the class of 2017 this morning, which include first-time nominees Tupac Shakur, Pearl Jam, Bad Brains, Joan Baez and Depeche Mode.

What does a new album from The Rolling Stones sound like in 2016? If "Just A Fool" is any indication, it's a lot like the band's earliest recordings from more than 50 years ago. This cover of a Buddy Johnson and His Orchestra tune is the kind of harmonica-honked, barroom piano-plonked, dirty blues that introduced the world to the Stones, when the British band made a name for itself by interpreting American blues songs.

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