FLOOD

An intoxicating blend of Y2K aesthetics and bubblegum pop, Black’s second album is a celebration of her musical evolution from internet laughing stock to hyperpop powerhouse.

Ahead of his new LP, we also press Will Wiesenfeld about being sampled by Charli XCX and the assessment that he’s getting “hotter and weirder” with every release.

The LA-based artist discusses the self-deprecation, imposter syndrome, and, ultimately, self-confidence of her debut album The Jester, which details her struggle to break into the music industry.

On his latest EP, the Detroit musician leans into his hip-hop roots while exploring what it means to love and resist over four quick-hit tracks enveloped by marijuana smoke.

Politically punk while sonically dance music, The B-52’s vocalist’s first solo record in nine years is a musically and thematically diverse scattershot of personal reflection and activism.

The 11 rock-out earworms chronicling depression and anxiety on the Tacoma-based group’s second LP are well worth the headache.

The Filipina-English artist’s Rick Rubin–produced third album provides a brutally realist introduction to the emotional maturation she’s undergone in the two years since her last LP.

On her studio debut, the Bronx rapper and it-girl of Gen Z’s Y2K aesthetic revivalism gives the impression of a young artist exploring her range.

The West Coast emcee shares how years of observing his TDE labelmates helped shape his new record, which was five years in the making.

On his final release with Def Jam, the Long Beach rapper builds upon his recent output to hone in on the darkness of his past while offering a glimpse into his healing process.