FLOOD

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.