FLOOD

Although perhaps eclipsed by the bonus-track-heavy deluxe edition from 10 years ago, this latest reissue of the alt-rock pioneers’ sophomore LP signals another splash of interest in Kim Deal’s post-Pixies career.

Band members Nick Jost and Sebastian Thomson walk us through the Savannah, Georgia–based metal group’s sixth full-length.

The instrumental post-rockers’ seventh LP finds them even more lost than they were when venturing into the wilderness seven years ago.

The re-release of the metalcore icons’ 2017 LP is enhanced by five additional tracks—which some of the band members wanted to include in the first place.

Constructed more like an avant-garde score than a traditional rock album, the 97-minute second LP from the LA-based noise-rock group is a complex piece of music-as-art.

Toting previously unheard demos, the Kill Rock Stars imprint’s remastering of the math rock duo’s first record is critical to keeping their unrivaled combustibility lodged in our brains.

The long-running band from Detroit proves that they need just five seconds to win over listeners who gravitate toward the type of quality noise-pop that takes chances.

Riley’s father Brandon and board members of Dallas Hope Charities reflect on the late musician’s deep humanity and prolific charitability on the third anniversary of his passing.

Properly mixed and mastered for the first time, the strongest quality of this live release documenting the noise-rock icons’ legendary final US show is its flawless separation of sound.

Returning to the label that released some of the band’s most iconic work over a decade ago, John Dwyer’s latest belongs in that company.

The dream-pop group’s 1994 sophomore LP is their most quintessential, capturing their alternatively whimsical and sulking spirit, framed with emotionally transformative songcraft.

The Austin band’s nine-song synopsis on disappointment is conversational, lush-yet-tempered pop music that delivers straight up.

Christina Schneider goes all in on her third record, steering clear of lyrical hyperbole or excess instrumentation to share with us her story in the most sparing of styles possible.

The longstanding experimental noise-rock four-piece break down each song on their eighth LP, out now via Ipecac Recordings.

Germinated during the metal bands’ 2019 joint tour, this exploratory collaboration covers plenty of ground between speed-metal blitzkriegs and epic-scaled drone.

Roddy Bottum’s second record with partner and bandmate Joey Holman is as direct as Faith No More albums are enigmatic.

Ahead of the band’s eighth studio album, the frontman discusses change, acceptance, and the sonic brutality of their latest offering.

The Louisville post-punks’ new EP sees them more toned-down than ever without a trace of their penchant for psych-rock to speak of.

Ahead of the band’s headlining appearance at Oblivion Access this weekend, Justin K. Broadrick talks Purge—the industrial-metal duo’s first new LP in six years—and finding peace in the isolation of the British countryside.

Mischievous, unrestrained, and daring, the Montreal psych-rock collective’s second album boldly redefines a sound they’d already redefined.

The Zamrock trailblazers’ first album in 39 years is impressively coherent, far-reaching, and composed in terms of songwriting and the musicians’ relaxed delivery throughout.

The LA trio boast breathtaking breadth on their second effort as their colorful canvas features gentle vocals carefully layered atop introverted math rock and light noise.

This 2012 recording from the Austin psych-rock festival makes the argument that the band can prove their mettle in just 40 minutes.

The ambient outfit’s 13th effort is the fullest representation yet of Matthew Robert Cooper’s outlandish compositions, as it’s his first album to feature a live orchestra.

By mixing tones, textures, and time signatures, the recently reunited noise-rock outfit have concocted a luscious, irresistible, unpretentious punk sound.

With their sophomore LP, the Santa Cruz hardcore group wears their experience on their collective sleeve and for the first time sound fully confident with their songcraft.

In the project’s 25 years, Jimmy LaValle has never sounded this sullen—though guest spots from Bat for Lashes and Kimbra help to bring moments of hope and temporary joy.

The Canadian soundscape artist strips any semblance of sensationalism from his electronic music and thrills us like never before on his 11th solo outing.

The Austin trio uses their fourth album to upend preconceived notions of what heavy music can do—then flips the script halfway through.

The single-track The Clandestine Gate arrives digitally this Friday via Profound Lore, coinciding with the song’s live debut at Roadburn Festival.

Aaron Heard talks betting his life on his metal/hardcore crossover band ahead of their anticipated sophomore album So Unknown.

The debut album from the Baltimore post-rock group taps into a wide range of emotions like much more experienced artists.

The Chicago noise-rock group’s fifth LP demonstrates that they’ve come a long way in understanding how to effectively use experimentation and space.

Reminding us of the critical role the LP played in the rise of emo, this remastered version is much shinier than the one Braid quickly recorded in five days in 1998.

On their new EP, the Swedish collective are embracing their true identity as a death-metal band that, under the corpse paint, is really a hard-rock outfit at heart.

The influential industrial metal band recently announced their first new record in six years, with Purge landing June 9.

This recording of the Mod rockers’ 2019 London show is loaded with songs originally intended to be heard as full-bodied masterpieces.

With 19 past full-lengths, their first studio recording with an outside producer proves, once again, that nothing can contain the noise-pop group’s sound and vision.

Mike Polizze’s garage rock outfit leans further into the Dinosaur Jr. comparisons than ever before on their first record in over six years.

On her expansive and massively ambitious new album, Haela Ravenna Hunt-Hendrix finds new ways to surprise even the project’s most loyal fans.

Providing a welcome retreat from reality, Anthony Gonzalez’s ninth LP shines so bright it should come with a special pair of sunglasses.

On their fifth album, the New Zealand outfit take their once-exploratory sound one step further toward full-fledged AOR.

The first-ever vinyl release for this 2003 EP—featuring covers of Beck, Kylie Minogue, and Radiohead—isn’t only a look back at a pinnacle in the career of the Lips, but a testament to their immortality.

The 89-year-old country icon repurposes 10 compositions by Harlan Howard with a heaping tablespoon of authenticity courtesy of a heart once broken.

This fusion of grindcore and doom metal gives both bands the opportunity to explore the luminous ether produced by their combustive collaboration.

Jamie Stewart’s shapeshifting post-industrial outfit turns its eye toward dark ambient with this conceptual journey into the bowels of anarchic horror.

By thrusting vocalist/guitarist Robin Wattie into center stage more so than ever before, the Montreal post-metal trio doubles down—and wins.

Once a billboard graffiti artist, Buff Monster has gotten a little bit more entrepreneurial in his recent endeavors—and is the sweetest new addition to a New York City scene in need of some fresh color.

When Mogwai embrace their raucous side on their latest LP, they come across as more liberated than ever.

Not really. But the South Carolina comic does set his sights on our new reality in his new special, Rory Scovel Tries Stand-Up for the First Time.

“Ends With And” replenishes the coffers of completists whose cassette collections have crumbled and provides a wide-ranging primer for curious newcomers.

At its core, “To Syria, with Love” is not a celebration of a love that exists in the present but rather a painful longing for a love that he wants back.

The road goes on forever and the party never ends.

“August by Cake” is an album stuffed with songs that qualify as demos, half-baked ideas, and snippets, along with a handful of brilliant gems nestled in between.

When he’s not sharing stories about strangers, Marlon Rabenreither spills his guts about his own love affairs, breakups, and what it’s like to be all by his lonesome self.

The Colin Newman–led band is not the same as it used to be fifteen albums ago. And that’s exactly the point.

“The Dollop”’s Dave Anthony gives us the inside scoop for this year’s fest.

On their latest LP, the Cleveland band have realized—or stumbled upon—something lush and lovely.

Ty Segall’s second self-titled album serves as an excellent primer of his career to date—but then again he always is a trickster at heart.

Japanese artist Azuma Makoto turns deconstructed floristry into fine art.

The Los Angeles artist surveys the scene from her Mt. Washington home studio.

The entertainer’s gravitas was undeniable in the glow of the Bowl—his first time playing with a live orchestra.

With tensions at a neck-popping high, the unconventional political convention tries to knead a little levity into the political conversation.

Even before it was shaping the national conversation and hosting sitting presidents, The Daily Show was skewering the way the media delivers the news. Ahead of their panel at Politicon, the show’s creators and early correspondents tell us how it all came together.

Before they became astro creeps, White Zombie were a horror-influenced no-wave group in the New York underground.

With the California sun in his eyes, the dark master of atmosphere and ambience has just released his lightest-ever record, the appropriately titled “Love Streams.” But that doesn’t mean he’s going soft.

All good things come to an end.

Parquet Courts possess a unique skill: making each of their albums sound as if it was their first.

Stirring up dirt in the Joshua Tree desert with Iggy Pop and Josh Homme—the world’s smartest Dum Dum Boys—to talk “Post Pop Depression,” this year’s most devastating rock album.

Ariel Rechtshaid knows how to pick ’em.

With some infectious dance moments in the mix, “A Man Alive” is a complex journey into the soul with life-affirming side effects.

So Pitted pulls the cloth off the table, but instead of trying to execute a magic trick, the band gleefully lets all the dishes crash to the floor.

Nathan Rodriguez and his band are boldly going where no rock band has gone before—and fucking around a bit, too.

Canada’s greatest post-rock band provokes introspection, obedience, and awe.

“On Nature” continues to energetically vacillate between tight and drifting experimentation.

This weekend’s fourth edition of the massive alternative comedy fest sprawls across downtown Los Angeles.

All of your favorite comics—and their favorite comics—will be in downtown LA this weekend.

“★” (pronounced “Blackstar”) nestles in with his kraut-favoring releases, with Bowie deferring much of the limelight to sax, flute, keys, bass, and drums.

Day eighteen of Red Bull Sound Select’s 30 Days in Los Angeles speeds into punk territory with a fiery show led by No Age.

Catching up with the Los Angeles–based artist on the occasion of his Star Wars–themed FLOOD Gallery show

The creators behind 30 Days in LA’s iconic show posters talk about their inspiration.

“Prescient” is a word that gets tossed around often, but Maserati deserve a hearty pat on the back for coming up with a retro-rock sound about fifteen years ago.

The angel-voiced artist behind massive single “Younger” talks about overcoming fear and finding her own style.

Bigger and louder isn’t always better, and it’s impressive that such a young band has already figured this out.

“New Bermuda” is the new black (metal).