FLOOD

On the heels of its 30th anniversary—inspiring a massive remastered box set and an expanded version of Michael Azerrad’s iconic band biography—we look back on the LP that unexpectedly gave Nevermind a run for its money.

The focus of the Montreal-based songwriter’s impossibly quiet second record is squarely on tapping into the natural world and reminding us of the wonders that it provides us with.

The Canadian trio’s aptly titled fifth record features peaks and valleys of mood and intensity throughout, each song charged with a different distinct feeling.

On what could be considered his first true solo record, Jonny Pierce processes decades of grief on a collection of songs that twinkles, soothes, and inspires.

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.