FLOOD

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.

The baddest dudes in Hotlanta know how to find the weird wherever they go.

More than anything, “Goths” seems to operate like an extended love letter to the oft-misunderstood subculture.

“The Far Field,” much like Future Islands albums that preceded it, is a deeply romantic album.

Having conquered a variety of genre albums in recent years, the genre this time around is that there isn’t a genre—just a dedication to the sanctity of the music and music alone.

After their strong debut found them playing to passionate crowds, controversy over the Calgary band’s original name caused them to retreat and regroup. Now they’ve returned with a new name and a second debut record that might be darker—and more powerful—than the first.