FLOOD

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.