FLOOD

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.

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.