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Get Your Tay On: How David Rees’s Aphex Swift Pranks on Pop Phenomenology

The comedian’s Taylor Swift/Aphex Twin mashup casts the latter as the naïvely self-expressive one and the former as the master technician—and makes you fantasize about Swift’s possible final form.

Vapor Tales: On Tinashe, and Sounding Atmospheric

Like musicians whose songs you might instinctively call “angular” or “twee,” the singer’s debut album strikes immediately as “atmospheric”—whatever that means.

Out of the Woods and Into the Particle Accelerator

Figuring out the force behind Taylor Swift’s new song, one component part at a time.

Descending Bear, Centaur-Style

“Poems are a record of failure,” says the poet Ben Lerner—art, too, by extension. But does that argument apply to the stranger corners of the Internet?

Negotiating With the Zeitgeist

Prince’s new albums fit in with his recent output: variations on conventional songcraft spelled by stretches of self-quotation. And yet, there’s still every reason to look forward to what’s next.

Pop Montreal 2014 Postmortem: Jouissance Risks Fracture

Vaguely feverish notes on a few days of Ronnie Spector, Fagen-esque forgettable lyrics, the reunited Unicorns, and pastries unclassifiable in French or any other tongue.

Polaris Prize 2014 Postmortem: Praying For Disintegration

Notes on an evening of charming Canadian earnestness punctuated by at least one moment of indisputable triumph.

‘I Like All Music (Really)’

How millennials listen to music, and why genre still matters.

Butts: A People’s History

Butts, contrary to what the tastemakers at The New York Times might have you believe, have always been pretty popular. What’s unique about this particular vogue is that, for once, it’s women-driven.

What Robin Thicke Really Took From Marvin Gaye

“Blurred Lines” may sound like “Got To Give It Up,” but the true connection between the two singers is revealed in the pages of Thicke’s strange and sad deposition: a tendency toward self-pity.