FLOOD

On his most purposeful and driven release yet, Nick Vicario teams up with members of Hotline TNT, Poison Ruin, and Ceremony for a mid-tempo homage to ’80s horror-punk.

On their second LP, Lu taps Jack Antonoff and Yves Rothman to co-produce a fascinating tapestry of pop, R&B, electronica, classical, folk, and everything avant-garde in between.

The debut from Berlin-based enigma Stella Stallion is a dance record filled with synths, heavy bass, and the traditional beeps and bloops—yet somehow it also feels organic and alive.

The Sudanese-American songwriter’s second album blends R&B and electronic pop with spoken-word poetry to create a tapestry of lush sounds and mythic language.

While they continue to excel at lo-fi post-punk, the Canadian outfit’s third album mixes the angularity and simplicity of their previous LPs with something much lusher and richer.

The Austin trio pushes into new territories within the frameworks of hardcore and metal, inserting flourishes of trip-hop, nu metal, and even Memphis rap into their aggressive package.

The debut album from the Detroit-reared artist jumps from jazz to electronica to R&B while always maintaining a cohesive structure of easy Sunday-morning vibes.

A hodgepodge of electronic textures, genres, and styles, the artist’s proper debut for his own Brainfeeder label feels improvisational despite its meticulous craftsmanship.

Naomi Udu’s debut album soundtracks her journey of self-discovery through her own version of heaven and hell in a glitch-pop take on Paradise Lost and Dante’s Inferno.

Eight years in the making, the rapper’s latest is expectedly choppy—yet it still manages to push traditional aspects of hip-hop to their limits with the help of a unique guest list.

Pairing early modern harp and vintage analog synths, the duo cope with disaster by forging soothing atmospheric compositions fueled by their unique creative connection.

Angel Abaya talks gravitating to music at a young age and her endless journey toward something “more dancey, more electronic, weird, and experimental.”

Water From Your Eyes’ Nate Amos digs into his back catalog of nearly 70 releases shared over the last 12 years, revealing his humble beginnings and the seeds of last year’s breakout LP.

Melody Prochet discusses her alchemical process on her recently released fourth album Unclouded, which was largely shaped by her art therapy work.

On their sixth LP, the industrial duo tones down the electronic tendencies of their past decade of output as they revisit to the gloomy post-punk and atmospheric shoegaze of their origins.

Destruction and decay may be the themes explored by the unlikely collaboration of a noise-rock band and a folk guitarist, but instrumentally, they make it sound beautiful, lush, and gentle.

The Nashville punks’ second album is less sonically gritty than previous projects, but has an added intensity largely stemming from an expanded studio band and sleeker production.

On their polished, hopeful third album, the LA synthpop trio increases the empty sonic space as they move away from the cluttered, rough edges of lo-fi punk.

The electronic trio’s Sub Pop debut is both introspective and danceable, combining the languid, mellow tendencies of its predecessor with the more pop-infused style of their earlier work.

The YouTuber-turned-rapper’s production style reaches a new zenith, with the LP’s intensity perfectly complementing Benjamin Lasky’s verses exploring obsession, alienation, and self-destruction.