FLOOD

The post-punky four-piece’s third record and Sub Pop debut hurdles toward you at breakneck speed, clear mission in mind.

The third collection of solo recordings from Big Thief’s guitarist weaves the mystical and everyday while meticulously obscuring the reality of either.

A record of quiet contemplation and deceptive disorder, the virtuoso guitarist’s fourth solo album contains both all and none of what came before it.

El Kempner discusses bringing a punky, live-band energy to their latest album—which is ironically also their most intimate.

The alt-country songwriter discusses how the comfort of experience—and the discomfort of honesty—shaped his latest LP with his outfit The 400 Unit.

The further you dig into the Canadian songwriter’s newest collection of sunset-folk, the more you realize how hard it is to sound this casual—and how much of a joy it is to see an artist continue to come into their own.

Even when presented in one big, unwieldy mass of 54 songs, Jeff Mangum remains as beguiling as ever.

Finally, a film specifically for those of us who don’t regret our In the Aeroplane Over the Sea forearm tattoos.

With his first post–Okkervil River solo LP out now, the songwriter digs into how the record was shaped by letting go of preconceptions.

The songwriter’s latest is a compilation of sorts attempting to wrangle with Yacina’s impressively deep catalog.

This self-titled LP is as close as an album can come to a kind of VR experience: alive, fluid, breathing in an artform that typically feels far more passive.

The Brooklyn-based duo discuss taking the time to chase the best version of their sound on their debut for Polyvinyl Records.

Tempering hope but resisting despair, the Brighton quartet’s second album sounds far more nuanced and organic without losing any of the urgency.

We talked to Morby about his latest solo album, recording in Memphis, and the mysteries of photography.

The latest from the Philly-based group is an album rife with strength and conviction even in its most vulnerable and honest moments.

Like a math-rock inspired Beach House, the Seattle-based group create a vibe so pervasive it transcends vibes-inherent triviality.

Alynda Segarra expands in seemingly every direction at once on Life on Earth, working in the new while retaining the old.

The ambitious folk-rock group achieves a fully-assured sound at an epic scale by letting Adrianne Lenker’s songwriting talent flow unrestrained.

The Welsh songwriter details the process of putting together her sixth album, which arrives this week.

This is Jason Molina at his most uncut and unadorned, less an album than a found-audio recording.

The Australian songwriter discusses covering new ground while remaining entirely singular on her third solo album.

Their latest LP finds the duo peeling back the layers of their previous work until they arrive at the essential center.

Lea gives each song its own sonic identity, taking what could become monotony and creating anything but.

The LA-based songwriter discusses brevity, tenderpunk, and her new label home.

The 2006 LP gives us a snapshot of a band working through the kinks, establishing a framework for an impressive future catalogue.

The Swedish-Argentinean songwriter’s fourth album removes the veneer, contemplates the contradictions in our nature, and embraces all our messiest vestiges and claws.

Aryeh discusses the overnight success of “Stella Brown,” how the track shaped his vision for the new album, and the ways in which he creates his own scene.

The dream pop group’s third album finds beauty in quiet and noise, the natural and the otherworldly, change and acceptance.

Revisiting one of the most unlikely hit records of the early 2000s.

With 2003’s “Stacy’s Mom”–toting LP getting a Real Gone Music reissue, we revisit the power-pop group’s uncool and understated third release.

Rattigan discusses his most collaborative solo album yet, as well as the catharsis of defeating his own personal Pennywise the Clown.

Their 12th record tries to reach a singular vision, but it’s hard not to hear the many voices attempting to roar as one.

“How Many Times” is pristine—you half expect the record to come with 3 fingers of bourbon and a cool summer breeze.

Merrill Garbus on the uncomfortable conversations and creative choices that characterize the band’s fifth album.

The band’s 7th LP is a wily repurposing of former selves while, at the same, whittling away what no longer fits.

The London songwriter is able to achieve a collision of cool and gut-wrenching that is all her own. 

The Muncie Girls songwriter finds much more fertile ground in the internal on her solo debut.

This self-titled LP is a record of hits, misses, and left-field bangers—but it’s Shamir’s and Shamir’s only. 

Alicia Bognanno’s third LP benefits from a newfound willingness to let go.

The band pick at every scab they’ve developed during their arduous last twelve months.

Isbell’s seventh album works best when it exists in the vagaries, where the lines of fact and fiction mix.

“MaDLO” is full of holes, but wholly unique. 

“Loves” sees a veteran artist sauntering along his creative borders with glee.