Review
A decade after “Fever Daydream,” the band’s return transforms moody electronics into a surging, physical spectacle.
Boots Riley fuses anti-capitalist critique with surrealist comedy, imagining revolt as both necessity and joy.
Anne-Sophie Mutter’s latest album sidesteps easy binaries, pairing Widmann’s mercurial Beethoven study with works by Chin, Darvishi, and Adès in performances of striking authority.
Anthony Kaldellis recasts the fall of Constantinople as a long process of attrition, shaped by strategy, fear, and the limits of Western indifference.
This substantial collection of the writings of classical music critic Michael Steinberg evokes a time when critics educated, provoked, and helped build cultural life.
A compelling program of Donald Hass, Florence Price, and Brahms reveals ensemble precision and deeply felt musical dialogue.
Tatiana Maslany anchors a cluttered but compulsively watchable thriller about cam culture, murder, and a very stressed-out mom.
Archival releases document the contrasting styles and shared brilliance of pianist Bill Evans, Ahmad Jamal, Thelonious Monk, and Cecil Taylor on the bandstand.
Jean Trounstine’s debut blends hard-won insight with high drama in a prison story of guilt, resistance, and survival.
Visually beguiling, “Silent Friend” may probe the mysteries of consciousness, but it has little on its mind.
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