FLOOD

One of the inherent difficulties of writing electronic-based music is adequately conveying the emotion that inspired it.

Regardless, this is a record worth getting lost in—much like the landscape that once again inspired it.

The anti-folk hero takes us on a tour of the New York neighborhood where he was born and raised.

His songs have always been as rich with the city’s colorful characters as they are his with incisive ruminations about his own life and philosophies, and “Manhattan” is no different

“Return to the Moon” makes for a compelling collection of songs that’s certainly worthy of a place on the shelves alongside Berninger and Knopf’s other outfits.

Riding the coattails of his at-times deafening hype, California–based songwriter Garrett Borns, better known as BØRNS, has followed up his recent Candy EP with this collection of shimmering pop songs.

After getting the Taylor Swift co-sign on his debut EP, the Los Angeles transplant drops his first full-length.

Detroit’s finest return to fight false happiness with “The Agent Intellect”.

Grabbing a bite with the man who decided to make all of Bob’s burgers.

Navigating the obfuscations with the bedroom-pop maestro.

While the other eleven songs (in addition, there are also six short instrumental segues here) are valiant attempts and pretty good offerings, whether the album validates Failure’s decision to get back in the ring is up to you to decide.

Thirteen years later, the system is just as fucked: banks and corporations continue to bleed ordinary people dry, bankers are receiving bonuses instead of jail time, and cops are, quite literally, getting away with murder.

Neither as crass as their name, or as sweet as their album title suggests, this second full-length from Welsh five-piece Joanna Gruesome is ten songs of beautiful, yet scrappy sentimentality.

It’s nothing groundbreaking for the now-LA-based group, but “Mutilator”’s explosive yet carefree energy is something listeners have grown to crave uncontrollably between releases.

The name is horrendous and unforgivable, but it’s possible to look past the moniker a little bit when listening to the Portland, Oregon, band’s sophomore record.

For the better part of two decades, Danish four-piece Mew has balanced ethereal soundscapes with poppy sensibilities, creating a uniquely captivating, genre-crossing sound.

Yet while “No Control” acts as the calming comedown after a drug- and booze-addled storm, the album is still fizzing with the excitement of the chaotic night before.

Remember, it’s quality, not quantity.

Though written at the same time as the songs chosen for his debut and captured, like those, at home on his four-track, these hushed compositions were intended solely for his family’s ears.

Nearly six years after the release of his sophomore album “Elvis Perkins in Dearland,” Elvis Perkins has returned with a vastly more minimal third full-length.