FLOOD

Toiling away at creating a style all their own for over a decade, the Richmond group’s latest LP exudes a sense of freedom in their doomsday shoegaze sound.

The Singaporean indie rockers’ jangly fifth record proselytizes the beauty of the natural world, providing hope with deliriously catchy tunes that channel ’90s groups like Superchunk and GBV.

The Australian band’s growing comfort performing with orchestra musicians results in a bolder, brighter, more engaging, and more direct album than its predecessor.

The Chicago trio goes deep on the clutch of songs they treasure most upon the release of their third, no-holds-barred studio album.

With Swamp Dogg Gets His Pool Painted now streaming, we spoke with the soul legend about some of the most memorable moments in the career of an artist who’s seen it all.

The third LP from the pigeonhole-proof Brooklyn collective proves just how far they can stretch the boundaries of indie rock with this radically diverse set of songs.

Vocalist Hayden Rodriguez gets candid about the trials and tribulations that preceded the screamo band’s newly released debut for 3DOT, This Bitter Garden.

Regaining the fast momentum with which they released their early material, the instrumental post-rockers’ ninth LP is defined by a meditative feel coursing through the songs’ proverbial veins.

Serving as a refresher course alongside the band’s reunion, this quasi-greatest-hits collection cements Jenny Lewis’ status as an indispensable figure in the lineage of indie-rock songwriters.

The Calgary post-punks couldn’t sound more comfortable in their own skin on their ironically titled fifth album, which seamlessly alternates between joyful and haunting moods.

Andy Falkous walks us through each track on the British post-hardcore trio’s propulsive, attention-demanding first album in over 20 years.

At under 20 minutes, the sophomore album from the endearing Brighton duo is a jolt of punk-rock beauty, blissfully shambolic from start to finish.

The Sprain offshoot’s ambitious hour-long, single-track debut album Motherfucker, I am Both: “Amen” and “Hallelujah”… is out now.

The Swedish post-punks’ fourth album combines half-assed humor with half-assed performances, filling in the void left by guitar-centric punk with demented synth tinkering.

The New York trio’s first self-produced album has a smooth, consistent, quietly confident sound quality that reflects the elegance that’s always been at their core.

Scottish twins Rachael and Paul Swinton reveal how they leaned on members of Mogwai and Portishead to reach new artistic heights on their third minimalist alt-pop LP.

The husband-and-wife duo calmly issue forth their always whimsical yet never overly precious musical blend of psych-tinged indie-pop from start to finish on their seventh and final LP.

The Montreal-via-Japan septet wed their distinct take on Japanese eleki music with the roleplaying mega-series via the whimsical ambiance of this musical accompaniment.

Transfixing from start to finish, the South Texas shoegazers’ debut is a dynamic, undulating audio portrait of the ups and downs of existence.

The first offering from the noise-punks’ new album Don’t Tell My Parents is a red-hot mess they refuse to clean up.