Lars Gotrich

Loving pop music means loving all pop music, or at least our ambiguous modern definition of it. For every "Teenage Dream" there's a "Call Your Girlfriend," for every "Safety Dance," there's a "Cloudbusting" – it's all in the same breath, both exploding and refining sugar in a space that is made for everyone, even if we don't always agree on its refinement.

Ex-squeeze me? A-baking powder? Brian Eno and My Bloody Valentine's Kevin Shields have collaborated on a new track together (for Adult Swim's Singles Program)? It's nine minutes rising seismic euphoria, blasted through the center of a black sun, its horizon bent beyond all logic? Am I alive? Am I dreaming? Don't wake me up.

Anna St. Louis' fingerpicked patterns wander through John Fahey and Elizabeth Cotten fields, her voice soft and warm; tall grass in a long day's sun. Her debut solo release, First Songs, looks to '60s folk, but the L.A.-based singer-songwriter comes from Kansas City punk and the Philly art scene. Both her background and shifting locales are reminder that what we often call familiar — especially in regards to musical style — is almost always a collection of experiences. There's rarely a singular moment informing it all.

Advisory: The above video and below language almost certainly contains content that some may find offensive.

Red Death is a thrash band raised on hardcore — its metallic riffs not only smash a crusty d-beat but also shout a punk ethos.

In April, a long list of musicians, comedians and visual artists were announced for 7-inches For Planned Parenthood, featuring new and rare tracks from the likes of St. Vincent, Feist, Björk, Bon Iver and Helado Negro. The box set is a response to "lawmakers with extreme views [who] are working hard to shut down Planned Parenthood," according to the creators of the project.

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