FLOOD

The result is “Dreams of Childhood,” a charity spoken-word album whose proceeds go to La Casa de la Cultura de la Calle (The Street House of Culture).

Welcome back, Bradford. Long live, Deerhunter!

With “Have You in My Wilderness,” Holter’s musical worlds continue to engross.

The group’s previous calling cards—swelling brass or the romantic swoop of an orchestra’s strings—are only seldom heard throughout “No No No.”

Shana Cleveland, leader of the Seattle surf-rock band, talks about being inspired by the emotional riptides of life.

“The Expanding Flower Planet” is a sun-dappled, cosmic exploration of moods that succeeds, not in spite of, but partially because of its obfuscated nature.

Each of Ezra Furman’s solo releases is a ball of condensed energy that explodes several times over before the final song is done.

The band’s third album, “Currents,” is spacey, intricately layered, and soulful.

The real draw is, and will always be, “Black Mountain”’s original eight tracks, which still stand up to scrutiny a decade later.

No Joy has injected just enough ferocious punk and hallucinatory melodicism into “More Faithful” to leave listeners drenched in sound and wanting more.

Throughout his time fronting the cult indie-pop bands The Unicorns and Islands, Nick Thorburn has showcased a strong penchant for melody across multiple disparate genres.

Kristian Matsson’s fourth album as The Tallest Man on Earth, “Dark Bird Is Home,” is a release full of growth for himself and a test of his capable backing band.

“Sound & Color” once again showcases the stomping power of Howard and her band, but the LP can be an uneven listen at times.

Paired with brutally honest lyrics, Crutchfield is the voice of brute force mixed with instability on “Ivy Tripp”—like a person taking a long, hard look into a mirror and smashing a fist into it.

With “Sometimes I Sit,” Barnett sidesteps any quaint expectations and delivers a true debut album that can surprise listeners with its depth and universality.

After a move to Los Angeles and personal explorations into poetry writing and film, Marling’s new music feels more electric and cinematic.

Jesso may proudly wear his influences, but he possesses a candor not usually heard from other indie artists.

New Brunswick, New Jersey’s Screaming Females have blazed a post-punk trail for nine years and their latest record, “Rose Mountain,” attests that the band has no intentions to cease their gripping punk odyssey.

From the soulful gospel of “When You’re Smiling and Astride Me” to the cherubic synth-pop of “True Affection,” this kaleidoscope of a release is brimming with ideas both batty and inspired.

Karen Dalton, Linda Perhacs, and Nico are often mentioned in the same breath as Jessica Pratt. Although those artists were touchstones for listeners trying to describe her first release, this new set of recordings sees her traveling further down her own special kind of rabbit hole.