FLOOD

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.

George Clarke discusses themes of self-mythology, sobriety, and ephemerality in the blackgaze band’s sixth album.

Frontman Peter Pawlak introduces us to Seen Enough, the Bay Area hardcore-punks’ debut EP for Closed Casket Activities and first collaboration with producer Jack Shirley.

This ephemeral EP feels like a placid segue from 2023’s No Highs, even if it largely just serves to chronicle the ambient composer’s recent film and TV work.

Julia Kugel introduces her new Suicide Squeeze all-star band featuring members of Death Valley Girls and The Paranoyds, who just released their debut single: a cover of Lync’s “Cue Cards.”

The sludgy noise-punk trio brings equal levels of ferocity, fearlessness, and foolishness to their seventh albums as they did their first.

The experimental quartet piece together snippets of discordant, angular, and off-tune notes to create a tapestry paying tribute to NYC’s no wave and noise-rock scenes.

Mapped out in accordance with the five stages of grief, the LA-based artist’s third LP serves as an instruction manual on how to cope while also expanding their bedroom-pop palette.

John Dwyer reteams with OG Oh See Brigid Dawson for 70 minutes of messy, bootleg-quality live material mirroring their early lo-fi collaborations.

On her solo debut, The Breeders band leader abandons sarcasm and lo-fi aesthetics in favor of florid arrangements that frame a far more sensitive side of the songwriter.

Juxtaposing a love of sewing with 13 minutes of whiplash-inducing, eardrum-destroying atonal assaults, the Brooklyn duo’s latest EP is yet another confounding product of twin telepathy.

The Leeds pranksters’ second album is a mixed cocktail deviating from traditional proto-punk by lacing songs with ’80s synth lines—and, of course, bars about wokeness anxiety.

The Colorado heavy rockers’ fifth and final record exhibits their broadest sense of appeal, ranging from aggressive noise rock to catchy post-hardcore hooks.

At various turns haunting, alluring, catchy, and confident, the Jacksonville shoegazers’ well-considered debut introduces the band with aplomb.

Climbing out of the black-metal pigeonhole, the Portuguese group sound more confident and creatively unrestrained on their fourth album rather than merely louder.

Frontman Eugene S. Robinson and bassist Andrea Lombardini help us digest the noise-rockers’ collaboration-filled fourth album.

As they continue to forge new paths for the subgenre, it often feels like the Denver technical death metal band is doing too much on their third album.