FLOOD

An open-hearted meeting of minds, the collaborative debut from Helado Negro and Reyna Tropical’s Fabi Reyna is a warm, Latin-inspired electronic-pop collection made to soundtrack blissful summer evenings.

The Montreal rockers blend sludge metal and raw folk on a second LP of visceral impact, doom-laden ambition, and violent twists and turns that often lacks lucidity.

The pummeling hypnotism of the doom-metal band’s first new material in 20 years still feels perfectly matched to Patrick Walker’s pained howls and Vantablack-hued emotions.

The cacophony of ideas on display on the transhumanist metal band’s dystopian fourth album reflects the relentless, manic digi-present we find ourselves in today.

The Nashville veterans blend the understated melancholia of dream pop with the more dramatic scale of post-rock on their latest album with a nice push-and-pull effect.

A stab at an “IDM popstar album,” the Londoner’s sixth LP under her own name sees her paring her palette down to the core essentials for what is perhaps her most understated effort yet.

The Canadian band’s sixth collection of percussion-driven, electronically augmented art-rock walks a fascinating tightrope between hard-hitting noise and grooving synth-funk.

The spiritual jazz musician’s third solo album rejects the distant cosmos and murky recesses of history in favor of the strange melodies and wondrous rhythms of human existence.

Karriem Riggins and Liv.e’s collaborative debut beautifully plays to both of their strengths, resulting in a colorful and delightfully laid-back collection of neo-soul and jazz-rap.

The influential metal and hardcore band’s leader discusses hitting a singularly raw nerve on their eleventh LP—this time with some potent socio-political reflections thrown into the mix.

Alec Duckart’s nautically themed second album infuses its emotionally fragile indie-folk with a trudging heaviness that pushes toward doom-metal territory.

The buzzy Manchester group’s new EP doubles down on affability with five tracks of straightforward indie rock coursing with charm and easy-going, edgeless quirks.

Made up of two nearly half-hour tracks, the hardcore experimentalists’ latest is artistically commendable and consistently intriguing, even if it tends to test the listener’s patience.

The Atlanta trio’s strange, radical second album of emotionally charged psych-gaze sees them honing a sound that feels striking and approachable, easy to grasp but also subtly experimental.

Brittney Parks’ inventive third album channels the electronic musical lineage of Chicago and Detroit by combining house, techno, and footwork with broader sounds like hyperpop and IDM.

The Londoners’ second LP doubles down on the ’70s pomp for another ornate, big-budget collection of orchestral glam rock that, despite its flair, doesn’t leave a lasting impression.

A dense, monolithic collection, the English DJ’s true speaker-blower of a second album sits somewhere between industrial techno, post-dubstep, and IDM.

The Welsh songwriter’s seventh LP is a bold, sometimes baffling, and frequently beautiful collection—one that’s abstract and experimental, yet also easy-going and oddly endearing.

The Massachusetts grungegazers settle on their sound with their second LP: a balancing of frantic energy with moody heaviness and an overall tone of passionately charged emo splendor.

John Dwyer has crafted his most overtly political album yet in terms of both its lyrical and musical attack, with his band’s recent linear and pared-down punk style put to enjoyably cutthroat use.