Pulp Fiction and Garden State created a successful model for soundtracks, but movie directors are now moving away from the curated mixtape formula, and having musicians create idiosyncratic scores to set their films and soundtracks apart.
Twenty years after this famous pitch-correction technology beautifully modulated Cher’s voice in her hit song “Believe,” Auto-Tune has proven itself not a fad but a fixture. Where did it come from, and what does it do exactly?
Critic and reporter Stephen Kearse considers the tragic life and death of young rapper XXXTentacion, and the nature of fandom.
On a two-year road-trip, a couple let their trip memories affix themselves to music from their old CD collection. In the process, they discovered the value of this outdated digital medium ─ not records, not streaming services, but CDs ─ for a certain kind of deep listening.
On the 20th anniversary of Radiohead’s OK Computer, Anwen Crawford writes an analysis of — and love letter to — the album that “manages to suspend time at the speed of sound.”
When you hear the recorded sounds of bird song or lapping waves in your acupuncturist’s office, this is where it all started.
Despite a renewed interest in vinyl, America’s independent record stores keep closing. Like a cockroach, one Columbus, Ohio record store will not die. What’s its secret?
In the swinging 60s, Caribbean immigrants and born-and-bred Londoners came together to create a new pop-rock sound.
Pitchfork looks at the life and work of the late musician Mark Linkous.
A look at why a growing tide of musicians are moving their shows away from sweaty clubs and into cozy living rooms, and the cottage industry that has sprung up around the production of so-called house shows.