Lars Gotrich

Sarah Davachi's electro-acoustic compositions seek the corners of quiet with a studious and patient curiosity. Gave in Rest, her second album of 2018, takes its inspiration from early church music, in particular "the quietude, the air of reverence, the openness of the physical space, the stillness of the altars," she writes in a press release. From "Matins" (morning prayers) to "Evensong" (evening prayers), the L.A.-based composer fills the day with moments of peace.

The world is going to hell, and Tim Kasher is doing everything he can not to be swallowed up by the chaos.

Look, if you're going to make a music video warning about developing a God complex, you might as well load it with tons of biblical imagery and over-the-top CGI.

High On Fire helped usher heavy metal into the 21st century. When the band began in 1998, the scene was adrift in all things "nu," which undeniably left its mark on young listeners, introducing them to more extreme sounds. But those who carried the torch for metal — the kind handed down from Black Sabbath and Motörhead — kept the sound alive and thriving, even if only the dedicated few listened.

It's been four years since Magda Davitt, the artist formally known as Sinead O'Connor, released I'm Not Bossy, I'm the Boss. Today she offers "Milestones," produced by the Northern Irish electronic producer and film composer David Holmes, exclusively via The Irish Sun.

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