FLOOD

The UK rockers don’t mince words on their fourth studio album, pairing their infectious proto-punk grooves with nakedly hedonistic lyrics.

The Houston “dirtgaze” trio ruminate on our intolerable times with some of the quietest and slowest music—as well as the most deafening, distortion-filled cacophony—you’ll hear in 2025.

Completing songs written during sessions with late bandmate Adam Schlesinger, this collection hearkens back to the airy spirit that made Ivy such a delight at a time when it was hip to be hopeless.

As they continue to tour their new album Sunshine and Balance Beams across North America, Rick Maguire talks recording process, signing to Sooper Records, and more.

With its 11 catchy grunge-pop tunes each referencing pro-wrestling culture, the Brooklyn band’s full-length debut prioritizes fun in its escapist return to the slacker-rock charm of the ’90s.

Reaching the pinnacle of his songwriting acuity, the vignettes McCombs paints with his voice and guitar on his 13th album evoke a conversation between Thoreau and Nick Cave.

The Belgian shoegazers’ noisier and more mature third record takes the form of a hopeful manifesto that the human race still has the opportunity to reinvent itself.

The Wand frontman’s fourth solo outing confronts American grift culture with hope and a communal spirit, as his backing players seem to prevent him from turning inward and catastrophizing.

The club-ready breakbeats and unrelenting experimentation on the Austin trio’s second LP serve as a deafening clarion call for humanity to get its act together before it’s too late.

The Detroit punks’ sixth album is a consistent, melodic post-hardcore assault, maintaining a relentless pummeling in defiance to the system as much as it is to their recent pop streak.

With his latest LP Autofiction out now, Joel Johnston discusses the headspace he was in as the project came together—as well as when he initiated the project in 2014.

In honor of the band’s recent revival, we also caught up with vocalist/bassist Chris Taylor and guitarist Mike Widman to discuss more pressing matters—such as who shot JFK.

This single-vinyl compendium welds together the two EP releases that preceded the OKC sludge-rockers’ formal introduction to the unwitting masses.

The Queens of the Stone Age frontman assured a fan account that a revival of his ’90s desert-rock band “is possible.”

Toiling away at creating a style all their own for over a decade, the Richmond group’s latest LP exudes a sense of freedom in their doomsday shoegaze sound.

The Singaporean indie rockers’ jangly fifth record proselytizes the beauty of the natural world, providing hope with deliriously catchy tunes that channel ’90s groups like Superchunk and GBV.

The Australian band’s growing comfort performing with orchestra musicians results in a bolder, brighter, more engaging, and more direct album than its predecessor.

The Chicago trio goes deep on the clutch of songs they treasure most upon the release of their third, no-holds-barred studio album.

With Swamp Dogg Gets His Pool Painted now streaming, we spoke with the soul legend about some of the most memorable moments in the career of an artist who’s seen it all.

The third LP from the pigeonhole-proof Brooklyn collective proves just how far they can stretch the boundaries of indie rock with this radically diverse set of songs.