FLOOD

The Austrian political-punk four-piece’s unfortunately timely third record is out now via Hassle Records.

The Ontario punks’ sixth full-length New Ruin is out August 5 via Fat Wreck Records.

Barry Johnson talks blending past and present on 40 oz. to Fresno, and how curiosity continues to fuel the West Coast pop-punk outfit.

The band’s fourth full-length is a powerful homage to the good, the bad, and the stasis of smalltown America.

Bird’s 13th full-length is a delirious journey into a world that’s both recognizable and exaggerated, half-real and half-fictional.

For her sixth full-length, Olsen has erected a country-tinged shield around the heart of her songs which often makes them feel more like pastiche than a sincere effort at conveying her usual heartfelt emotion.

The 13 songs on the Chicago trio’s fourth album conjure up memories of the kind of childhood you see in movies, the kind of love that you’ve dreamed of forever but never had.

The Philly-based songwriter’s latest solo release is a deeply personal, revealing, and vulnerable collection of songs that sounds like hearts breaking for eternity.

The D.C. group’s new album is out this Friday via Misra Records.

Far from embracing the abrasive nature of the punk and hardcore scenes its members come from, the 10 songs on this sophomore LP lean heavily into what could almost be described as pop.

The debut LP from the Red Lake Ojibwe Pow Wow singer is comprised of 10 songs that bristle with beautiful tension and a deep, dark, wordless poetry.

The first proper album from the punk seven-piece thrives with a sense of wild abandon and sheer joy at being alive.

This ninth full-length offers a contemporary yet simultaneously anachronistic soundtrack to a world that’s become even more fucked in the four years since its prequel was released.

The urgency and intention and raw, ragged truth that usually defines the Cursive frontman’s work is often lost within his latest solo LP’s arrangements.

For this Bartees Strange–produced third record, the emo trio explore how Black genius often goes ignored.

This 2015 performance from Conor Oberst’s punk band pays less attention to being in tune than it does to turning the rage of the songs into tangible energy.

The duo’s first full-length in almost nine years recaptures the glory of their earlier days more than the path of slight self-parody they had occasionally veered into since.

While there are slivers of Superchunk, early R.E.M., The Lemonheads, and Hüsker Dü here, the Liverpool punks’ debut also shimmers with its own distinct personality.

We caught up with Blake Schwarzenbach ahead of the punk trio’s belated 25-year anniversary tour for their last record, which kicks off tonight.

This tenth studio album from the Gainesville punks is a positive and triumphant dance in the face of trauma.