FLOOD

Though continuing to build off the blueprint of 2012’s Attack on Memory, Dylan Baldi replaces some of that early release’s angst with a measured positivity on the group’s eighth album.

Expanded into a proper four-piece band, Dom Maker and Kai Campos’ long-running art-pop project revels in the possibilities of hypnotic indie rock with convention-shattering results.

Camae Ayewa delves deep into the history of British colonialism and its lasting legacy with some of the most intense and harrowing sounds of her wide-ranging career.

As its title implies, the Leeds post-punks’ second album pulls back for a broader view of a future that hasn’t quite delivered on its potential while exploring what lies beyond their familiar sound.

The post-punk trio’s fourth album doesn’t dramatically alter their basic foundation despite a slight angle toward more generous use of space.

At a lean 25 minutes, the noise-rock trio’s sophomore album scarcely strays from a palette of sludge ’n’ scrape—just one application of downtuned and distorted mayhem after another.

The group’s fifth album continues to solidify their goth-industrial aesthetic while remaining first and foremost a pop album—albeit one wrapped in leather and spikes.

The six collaborative tracks from the Maryland grindcore outfit and Philly shoegazers stretch both bands into new compositional terrain in addition to playing to each group’s strengths.

On their debut full-length, the Bay Area group polishes their punchy, fun-as-hell garage-punk anthems into radio-friendly bursts of big hooks and bigger guitars.

On their more urgent and improvisational second collaborative release, Jenny Hval and Håvard Voldent trade in the aesthetics and gloomy guitar of post-punk more so than electronics.

The artist formerly known as Lingua Ignota talks letting go of her former project to begin the weird process of healing.

The quartet’s thirteenth LP finds them embracing the most hypnotic aspects of their sound while emphasizing the organic physical chemistry between the musicians established over two decades.

Lou Barlow and John Davis discuss reissuing their score to the controversial 1995 film and reckon with its hit song.

The former Fuck Buttons member’s third solo LP is marked by floor-shaking beats, powerful synths, and a reverence for spaciousness that gives each song the opportunity to breathe.

The cult post-punks ease into a more accessible form of noise rock than their skronkiest early works exhibited that nonetheless feels like a natural progression from where we last heard them.

Patrick Stickles discusses the group’s new album The Will to Live, out this week via Merge Records.

On the follow-up to their 2017 debut, the Bristol punks are louder, fiercer, and entirely more vulnerable.

Mackenzie Scott maps out the mental spaces, color palettes, and newfound sensuality that influenced her third LP.

Don’t call it slacker rock, but the Atlanta trio provide only the bare minimum.

Having formally stepped away from the Pharmacists for the first time in his career, Leo is taking a new approach at this whole rock star thing.