FLOOD

Spinning Coin’s true strength lies in not just being some manner of revival of those pop-post-punk tenets, as much as clever guardians of the aesthetic flame.

The latest from the iconic Malian duo has surprises at every turn.

Andy Butler has become the multi-faceted songwriter and profound expressionist he always meant to be.

The return from the shoegaze legends seems as if it was made by a bunch of twenty-year-olds excitedly let loose in the studio for the first time—and the result is one of the more vital comeback records you’re likely to hear this year.

On their first album in twenty-two years, Slowdive prove that, despite its introverted nature, shoegaze possesses the possibility for truly anthemic gestures.

Billionaires in the White House? Come Armageddon, come.

No one would make this record if they didn’t have to.

The British composer bravely journeys deep into the interior of Virginia Woolf’s novels and her inimitable characters.

If there’s anything disappointing about Brian Eno’s career thus far, it’s that his oblique strategies have never taken him radically far away from the zones he settled and perfected.

Equipped with nothing more than a piano and occasionally a guitar on this live album from 1992, the former member of The Velvet Underground pulls something new out of so many songs from across his career.

Maybe Nashville is just where the British R&B singer needs to be.

If she’s really retiring, Maya Arulpragasam is going out on her own terms.

On their third record, the mysterious Swedish collective take psychedelic world music deadly seriously.

Cut from the streets of Memphis, this punk quartet turns the cacophony of city living into a symphony of distortion and dread—as well as hope.

“Innocence Reaches” isn’t a masterpiece by any means, but it’s a refreshing change.

The Broken Social Scene co-founder returns with his third solo album.

For a collection of outlier bits, the second album from Nils Frahm’s nonkeen project is remarkably cohesive.

Have you ever thought to yourself, “Wouldn’t it be great if someone could combine the virtuoso scuzz of Black Sabbath with the sneering vitriol of The Fall?”

The Verve frontman’s first solo album in six years finds him back in his familiarly affective but downtrodden form.

No strangers to a tumultuous road, Bernard Sumner and Gillian Gilbert reflect on the Peter Hook–less era of their legendary group, and the new album that recently came out of it—”Music Complete,” the special edition of which is out May 13.