Sharon Van Etten's Remind Me Tomorrow bucks expectations and her previously visceral songwriting tone for something more reflective, exploratory, and ultimately more impactful.
Brooklyn punk band Bodega's debut album, Endless Scroll, has high aspirations of presenting screeds on the awful aspects of our content-driven society.
The new studio offering from Kim Gordon and Bill Nace offers an experience that's less tied to the raw emotions of the past and more focused on the exacting, brilliant technical and compositional skills of its creators.
The first three albums from groundbreaking punk/post-punk band Wire still serve as a benchmark for what punk rock could be at its best as well as where underground music would go in the decades that followed.
Reissued by Omnivore Recordings, the second album from the Posies marries bright, garage-inspired power-pop with a '90s mainstream rock sheen that holds back a typically enjoyable set of songs.
On his 10th album, Daniel Lopatin composes another inward-looking collection of compositions, this time with a bevy of collaborators and a broader vision of what he wants his music to represent.
Synthpop auteur John Maus follows 2017's Screen Memories with a collection of songs that are unique and occasionally maddening in their uncharacteristic silliness.
The latest from the British indie icons is an EP of material recorded during the sessions of last year's Weather Diaries, and it feels just as confused and inconsistent as its predecessor.
The first solo album from the former member of Yuck and Hebronix strives to marry pop and art to express deeper internal turmoil, but the end result is an album lacking in strong emotional connection.
The indie pop legends' late-period resurgence continues with a strange record seemingly built to please die-hards and slightly confound everyone else.
The latest from songwriter Nicole Schneidt's indie rock group Air Waves uses expanding musical horizon to express comfort and solidarity during uncertain times.