All I can think is that I’ve waited two decades for this moment… and it is everything I could’ve hoped for.

Reflections on Opus’ first 15 years, plus a reading list of some of Opus’ best articles, reviews, and interviews to date.

I don’t mind missing out on an adaptation that has a fundamentally flawed and/or carelessly casual approach to its source material.

Soaring ’80s pop, charming modern classical, brooding indie-rock, atmospheric sludge metal, dreamy R&B, and more.

Tropical dub from Sweden, blistering post-rock, contemplative ambient jazz, emotional drones, an electronic journey through space, and more.

Featuring gloriously mopey ’80s pop, robotic heartbreak, shimmering dreampop, late night ambience, and the return of a music legend.

When was the last time a show so effectively and thoroughly undermined so much of what made it great?

This year’s list spans from apocalyptic post-rock to black metal to EBM to psych-pop to synthpop.

Can you really call yourself a music lover if you’re not supporting the artists responsible for the music you have?

Killing an otherwise healthy baby would be acceptable were its neurological development somehow deemed less than desirable.

On writing in a more thoughtful manner, from a pair of articles by Alan Noble and MG Siegler.

You may say that I’m simply quibbling over semantics here… and that’s precisely what I’m doing.

As far as digital worlds go, Tron: Legacy’s is not nearly as fantastical as the movie would like you to believe it is.

The finale revealed a complete and utter disregard for the show’s mythology.

While Mass Effect 2 has topnotch graphics and voice acting, its biggest selling point remains the thorny, thought-provoking moral dilemmas that it places before the player.