FLOOD

Extended to a two-album set, this anniversary remastering of Elliott Smith and Neil Gust’s post-hardcore band’s third and final statement features unreleased songs and demos.

This unearthed 1967 live gig from Redwood City, California features raw, soulful R&B covers recorded with a roomful of memorable voices that audiences would soon grow to love.

A follow-up to last fall’s full-length, this four-song EP sees the London-based songwriter strengthening her case for pop-chart status while continuing to prove that that’s not her goal.

The drummer and Mantra of the Cosmos co-founder riffs about recent collaborators Noel Gallagher, Sean Lennon, and James McCartney, his standing with The Who, and more.

This second solo LP moves further into the Raincoats co-founder’s melodic mix of dub-rock, neo-jazz, skeletal R&B, and space-pop as she continues to eschew creature comforts.

The pop star retains the tainted-love throb of electro rhythm on a fourth LP that’s high on affection, low on gloss, and geared toward transcendence and sneaky sexuality.

From Laura Jane Grace to Public Enemy, these are just a few of the tracks certain to be remembered within the context of this moment of violence and injustice they rail against.

The UK-via-NJ songwriter’s blackly comic neo-chamber-pop missive on sobriety still manages to speak to the upbeat without a snip of excess emotion.

This new box breaks down seven well-framed sets of sessions spanning 1983 to 2018, essentially designed as full-album capsules of mood previously deemed unfit for canonization.

John C. Reilly’s latest role as a lonely vaudevillian singer of Great American Songbook standards sees him unwrap each melody and lyric without irony or snarky dispatch.

Released in celebration of Pride Month, this repackaging of the Athens new wave icons’ first 13 years of music makes you want to live through their original release dates all over again.

Composed entirely from the vibrations of metal objects, the compact experimental duo’s new anticapitalist allegory is as unique a prospect as a fingerprint.

In its 18 brief, blipping songs, the Brooklyn neo-soul artist’s latest venture into old-school rap, acid jazz, soca, and trip-dub is closer to a groove mixtape than a cohesive album.

The Beach Boys co-founder was his own world-builder—a universalist whose visions will never be attempted, let alone replicated.

Upholding his fascination with the crunch and snap of shiny alt-rock, Weezy’s sixth chapter of his ongoing soap opera is as eclectic as its list of features might suggest.

The Sheffield art rock ensemble’s first album in nearly 24 years still maintains their Kinks-y kitchen sink dramatics in opposition to Oasis’ Beatles-like demeanor and Blur’s operatic Who-ness.

The long-running avant-garde collective will bring their most epic conceptual work to life nearly 50 years after its release at the LA music and arts festival this weekend.

Despite bristling with Matthew Urango’s familiar cotton-candied disco, the late songwriter and activist’s sophomore album also opens the floodgates to everything else he seemed capable of.

Their first new album in fifteen years spins on an axis of subtly infectious refrains and gently askew rhythms—it’s avant-garde art-pop as something radically old yet experimentally new.

The alt-pop songwriter reflects on her new album D R E A M S I C L E, the life changes that inspired its lyrics, and learning to just be her “messy self” in the studio.