"With El Pintor, Interpol don’t sound as much like Interpol as they do a band that really wants to be Interpol."
— Larry Fitzmaurice reviews Interpol’s fifth studio album, El Pintor.
"That’s my problem with fucking trap music: People are rapping about killing niggas and selling fucking drugs all day, but it sounds happy—that’s bullshit. That shit’s stressful: You’re not going to make no fucking money, somebody’s going to end up dead, and you’re not going to be able to pay for his funeral because his mom probably don’t fuck with him like that, and he don’t got health insurance. So now you have to do a fucking car wash to pay for somebody’s funeral and bury him in some cheap shit. Where’s that song?"
— Long Beach MC Vince Staples in our latest Rising interview.
"This gig is about more than a night out: It’s about what one woman’s return means, what it represents. Born within a month of Madonna and Michael Jackson, Kate Bush remains a rare female embodiment of complete creative control, something she established when the music business was a proper business. She was the first woman to write and perform a British #1 (“Wuthering Heights”) and have a British #1 album (Never for Ever), and she’s also produced her own work since 1982’s The Dreaming. She still defines her career, resolutely, on her own terms, but this doesn’t mean it’s not right to gawp at her uncritically—although tonight’s gig is a great one, it isn’t perfect."
— Jude Rogers reviews Kate Bush’s first concert in 35 years.