Emo superstars get a hip(ster)-hop makeover!
Fall Out Boy’s Make America Psycho Again is less a standard remix record, and more a repurposing of songs from FOB’s last album, transforming them into huge hooks for fresh jams from some of today’s hip-pop luminaries including Migos, A$AP Ferg, Juicy J, Wiz Khalifa, OG Maco, I LOVE MAKONNEN, Big K.R.I.T. and more! –Andee Connors
Bjork stuns on acoustic remake of Vulnicura.
On Vulnicura Strings, the tracks have been rearranged, electronics stripped out and redone with just strings and vocals. This new version also includes the only “viola organista,” a harpsichord-voila hybrid imagined – but never built – by Leonardo da Vinci, overall making a beautiful and alluring companion to one of the year’s very best albums. –Michelle Solomon
INDIE SUB OF THE WEEK:
Power chords and Yellow Pills!
Refugee is the debut single from UK combo Money, who channel classic, ‘70s power pop with a nod to the current crop of distorto-blues revivalists. Refugee is all lo-fi swagger and stomp – a frantic, frenetic blast of indie rock buzz and crunch, that’s hyperkinetic and hooky as hell. –Andee Connors
Robert Plant & Alison Krauss sing heavenly harmonies to the Holidays.
Led Zeppelin’s former frontman and the honey-voiced Americana ambassadress rekindle that magical musical chemistry from their Grammy-winning 2007 album Raising Sand. “The Light Of Christmas Day” is a new original and the standout single from the soundtrack to the 2015 Christmas comedy film Love The Coopers. –Eric Shea
Yellow Claw Shows No Mercy
Amsterdam trio Yellow Claw rode the trap wave with booty-shaker “DJ Turn It Up,” but have since demonstrated pop ambitions, which they fully indulge on their debut album Blood For Mercy. Bridging EDM, hip hop and even reggae, collaborators include Tiesto and Flux Pavilion as well as DJ Mustard and Ty Dolla $ign. –Party Ben
Bob Dylan’s lightning-in-a-bottle approach to recording.
This voluminous collection reveals that while tracking Bringing It All Back Home, Highway 61 Revisited and Blonde on Blonde, Dylan preferred to capture the immediacy of the live-in-studio experience. The Bootleg Series, Vol. 12: The Cutting Edge 1965-1966 suggests the only way to record three albums in 14 months was to eschew sleeping altogether. –Eric Shea
Goldlink doesn’t give a F about genres, boundaries or feelings on And After That, We Didn’t Talk.
The DC rapper drives ‘90s babies crazy with his “Future Bounce” sound, bending boundaries in rap, R&B and dance. Between Co-Signs from Soulection, recording sessions with Rick Rubin, Kali Uchis, Kaytranada and Anderson.Paak, Goldlink has created a new sound in hip hop. –J Boogie
Just in time for Thanksgiving.
We’re grateful for Shovels & Rope, delivering collaborations with some of our favorites: Shakey Graves, The Milk Carton Kids and Preservation Hall Jazz Band. With surprise release Busted Jukebox Vol. I, The duo share their most beloved influences by rearranging songs made famous by the likes of Nine Inch Nails, Emmylou Harris and Lou Reed. –Rachel Whitney