FLOOD

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.