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  • It speaks volumes about the purpose and meaning of the first visit to Myanmar by an American secretary of state in more than five decades. Aung San Suu Kyi is a living symbol of the struggle there for human rights and democracy.
  • The German duo has been active since the early '90s, making dance music its members call "raw soul," though most would call it funk. On a new album, Earthology, the pair branches out into indigenous sounds.
  • The Twin Cities band's roiling, hands-on electronic music hews between dance fare that could catalyze a club and slower new-wave sounds.
  • Rachel Barton Pine says that while recording an album of music designed to help babies sleep, it helped to keep her own infant daughter in mind.
  • The training will include strikes on ground targets and troop deployment, the Chinese Defense Ministry said. China's expanding military activities have alarmed the U.S. and its allies.
  • Stephen Bruton played guitar for nearly 40 years with Kris Kristofferson. He recorded five solo albums, and his songs have been covered by such greats as Bonnie Raitt and Willie Nelson. Bruton died of cancer on May 9 at the home of his longtime friend, music producer and songwriter T-Bone Burnett.
  • Daryl Hall and John Oates have distilled their hit-making career into a new box set called Do What You Want, Be What You Are. The band had so many '80s pop hits that it's helpful to remember that they started their careers as soul musicians. Hear Hall and Oates' interview with Guy Raz.
  • The band is a bit of a rarity in rock music — both critically acclaimed and commercially successful. But it took the better part of two decades to get there. Founders Jim Eno and Britt Daniel talk about their upcoming album, Transference.
  • There's nothing like a good song to make you realize you're not alone after all. Music can cross divides, and Somi draws from the common ground she has found in many cultures. Her new album, If the Rains Come First, celebrates many flavors from her past.
  • O'Neal's Whirling Mantis is named for a defensive move in karate. The martial-arts reference suggests one way to look at how O'Neal's music operates: The players react to each other's moves, deflecting one another in stylized interaction.
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