FLOOD

An exhilarating journey into one of contemporary music’s most inventive and eccentric bands.

While “Trouble Maker” is far from a political record, its songs certainly exist within the fragile framework of America in 2017.

Comprising eleven downtrodden, sunken-hearted, minor-chord songs, Big Thief’s sophomore album traverses the dark side of humanity, but pairs the despair with a ragged beauty.

A more than welcome addition to—and expansion of—the Hold Steady frontman’s catalog.

Everything Sleaford Mods say in these twelve songs is thoroughly valid and, frankly, needs to be said.

It’s not the second coming of “The Sophtware Slump.” But it also isn’t trying to be.

Singing the praises of the undersung singer-songwriter.

On his solo debut, the Ought frontman embarks on his own personal exploration of sounds and genres, ideas and influences.

The LA native’s debut is an escape route from Trump’s America into an alternative and rose-tinted reality.

The four members of The Menzingers have all hit their thirties. “After the Party” confronts that reality and all the realizations that come along with it.

The Arrival composer gives voice to an unlikely subject: himself.

Beyond the big hits, R.E.M.’s seventh album is a record full of nuances, a record that matched the quantity of units sold with the quality of its songwriting.

Natalie Mering’s newest release straddles the world we inhabit and the marvels we imagine beyond it.

Darkness and light battle it out in M.C. Taylor’s latest.

On the whole, Beach Slang’s sheer joy at just being alive should bring a smile to the most cynical minds and the most jaded of hearts.

The minimalistic, ice-cold production of Splendor & Misery feels like it’s been pulled back into the present from the future.

The British duo venture across the Atlantic to work with Matthew E. White at his Spacebomb Studios.

Thomas Middleditch and half of your favorite comic actors come together for a non-bachelor party.

For over two decades, Deerhoof has shown how far a little weirdness can go.

Nearly two decades after its initial release, “Fantasma” remains just as far ahead of its time and as equally unclassifiable.