FLOOD

Hannah van Loon’s latest EP is heavier and more melodic than last year’s GIZMO album as it builds and releases tension in exciting ways.

This newly remastered 1986 collaboration remains an enigmatic work more ethereal than any other project released by the Scottish trio, transformed as it is by the ambient composer’s lush use of reverb.

The textures, tones, and pacing feel more polished on Brijean Murphy and Doug Stuart’s second LP as the duo captures the beautiful yet terrifying ambivalence of life.

Between its engrossing syncopated beats, exciting features, and unconventional loops, the hip-house artist’s long-anticipated debut is the perfect summer album.

Further experimenting with electronica, jazz, and R&B, the LA-based group’s second album sees them blooming into a full-fledged pop group.

On their third LP, the Brooklyn-based quartet continues to experiment with rhythm as they find their niche within the neo-psych space.

The London-based art-pop composer shifts into more polished electronic club music territory on her third solo LP as we hear her wrestle with a sense of connection.

The no-wave icon’s second solo LP is a monolith of creativity and a pivot away from pure noise rock into unique sonic territory that marks another highlight in her ever-growing legacy.

Getting to know the 18-year-old Dominican rap sensation ahead of her set at FLOODfest SXSW on March 14.

On their fifth effort, the punk hooligans entrust their signature brash energy and cutting vulnerability to iconic producers Nigel Godrich and Kenny Beats, who help them create their most transformative record to date.

Channeling grunge, slacker rock, and various other ’90s alt-rock subgenres, the debut from Kane Strang’s new band is a fuzzy, explosive, and melodic ride.

The Boston-based goth-pop trio scratch a unique itch on their more complex sophomore record by expanding their aesthetic to incorporate Midwest emo vocals.

This brief but sweet collection seems to use the template of the changing seasons to showcase the Chicago-based songwriter’s ability to create entrancing dream-pop compositions.

Taja Cheek’s third LP exhibits fewer elements of neo-soul, instead displaying some of her most intricate and engaging rock-inspired compositions to date.

The Singaporean songwriter and producer diverges from the predominantly gitchy stylings of their previous release and explores heavenly sounding guitar-based melodies.

The neo-soul/post-punk songwriter languishes in the absurd with a carnivalesque yet life-affirming journey on his sophomore record.

The Oakland-based songwriter’s fourth record is a tale of self-discovery that wields soothing, jazz-infused pop melodies as scaffolding.

On his third solo album, the Wand frontman invites harmony, absurd yet heartfelt lyricism, and distorted electric guitar into his surreal, carnivalesque Western world.

On her fifth solo album, Williamson avoids one-dimensional break-up clichés to create a complex work of conventional country-style riffs and more modern instrumentation.

The sophomore record from the Atlanta-based songwriter walks a tightrope between modern R&B and vintage funk and soul in order to best demonstrate the power of her voice.