FLOOD

Recalling early-’00s pop-punk, the band’s third record creates an experience that’s new and surprising yet familiar and comforting at the same time.

The noise rockers’ 6th album expands upon the electronic, warehouse-rave-set, live sound introduced on last year’s “Hologram” EP.

The split will also get a vinyl release via Suicide Squeeze on February 11.

On her first solo albums since 2012, the Canadian songwriter crafts a visceral feeling of joy and camaraderie with the help of her backing band.

Stripped of textured guitars and big sounds characteristic of her past output, Rundle leans into singer-songwriter qualities reminiscent of Nick Drake or Sibylle Baier.

The songwriter’s debut single is out now via Arts & Crafts.

On Jones’ funhouse follow-up to his psych-rock debut, each interrelated song serves as a madcap one-man show within a cosmic, comic drama.

The Tokyo-based instrumental post-rockers’ 11th album is an emotional journey that stirs the psyche with its meditative qualities.

The PNW-based group achieves a rustic and pastoral quality landing somewhere between black metal and something more otherworldly.

This reissue of the band’s 2014 debut gives new focus and meaning to details from the original release.

Witnessing Anika’s evolution from her debut to sophomore album is like experiencing the world go from black and white to color.

Maria Taylor and Orenda Fink’s first record in a decade proves they can seamlessly pick up from where they left off.

The shapeshifting group’s second album of 2021 is straight up psychedelic from start to finish.

The posthumous release from the late Suicide singer is a time capsule of the industrial sounds of ’90s NYC.

The debut record from Jenny Hval and Håvard Volden feels both familiar and new, sounding classical yet edgy.

Like a memoir, “Live at Levitation” tells the story of The Black Angels on the rise.