FLOOD

Josh Tillman focuses his lens on death on his darkly comedic sixth album as eclectic instrumentation continues to buttress his folky chamber pop beyond ’70s pastiche.

Largely inspired by vocalist Dana Margolin’s dreams, the Brighton band’s fourth album is a darkly poetic reclaiming of self that softens their prior output’s jagged edges.

Dan Snaith leans into his deep-house proclivities while jettisoning his recent streak of introspective lyricism—yet it’s the wide vocal range on this record that’s the key to its success.

This new two-disc reissue focuses less on bonus tracks and more on visual layout, as Wayne Coyne and designer Drew Tetz expand the trippy imagery of the iconic 1999 psych-rock opus.

On the lean and mean eight tracks that make up her seventh album, the alt-R&B songwriter expands her musical comfort zone without disrupting her soulful, smoldering, and beat-curious core.

Reuniting two years after their initial collaborative album, Noah Lennox and Peter Kember enlist a mariachi ensemble to spruce up the record’s second and final EP-length companion piece.

The Britpop band feels right at home at the iconic London venue as the 17-track setlist recorded last August shows off their range.

The Brooklyn-based songwriter’s highly collaborative third LP is a moody work reflecting on the ever-expanding cosmos—and the imprisoned eyes of Petco lizards.

Nick Thorburn’s project returns to their Canadian roots on their tenth album, a charming collection spattered with dark folk reflection, rock-pop swagger, and dream-pop pops of color.

The Portland group’s first release on their own label is a fun combination of loose-knit folk and powerful prog odyssey, feeling like both a fresh start and a return to familiar form.

Composer and multi-instrumentalist Tom Holkenborg delves into his second musical work in the Wasteland with longtime collaborator George Miller.

The Scottish duo gives our global village a fitting pre-apocalyptic soundtrack on their eighth album as they balance misanthropic lyrics with breezy, danceable synth-rock.

The LA-based indie-folk songwriter’s ghostly yet elegant fourth album is all smoke and light work—like the best noirs of the ’40s and ’50s if they were filmed in the druggy late-’60s.

The pop star’s soaring vocals are overshadowed by scattershot and overengineered production on her third album, as her team of songwriters’ styles clash more often than they mesh.

In addition to capturing some behind-the-scenes moments from rehearsals for their upcoming tour, we connected with Sam Beam and a few members of his current backing band to discuss how Light Verse, his first album in seven years, came together.

Sounding like a streamlined debut, the alt-pop songwriter’s third album propels the impact of her melodies by sanding down the electronic stylings and returning to her folk roots.

The indie rockers’ fifth album unfurls like a middle-aged plot twist, occasionally finding its balance between the band’s jammy origins and more recent experimental art-pop leanings.

Partially inspired by the film of the same name, the pop icon’s seventh album sees her perfecting familiar musical territory while attempting to wipe all the pain away.

The Brooklyn-based outfit’s sixth album brims with pretty jangle-pop melodies, though their familiar indie-surf sound lacks in experimentation.

Possessing a more live and ramshackle sound than their debut, the Radiohead offshoot’s latest experiment is firmly ensconced within the aesthetic fields of In Rainbows and A Moon Shaped Pool.