Vistas' debut, Everything Changes in the End, features bright rock music that pulls influences from power-pop and indie rock.
Eyedress' Let's Skip to the Wedding is a jaggedly dreamy assemblage of sounds that's both temporally compact and imaginatively expansive, all wrapped in vintage shoegaze ephemera.
A heavy feeling of loss pervades Old Man Gloom's new albums as these songs are a way of coping and documenting grief, as well as commemorating how much Caleb Scofield meant to the band.
Australian rockers Datura4 take inspiration from the never-ending coastal landscape of their home country to deliver a well-grounded album between blues, hard rock, and psychedelia.
Jazz trombonist Nick Finzer shines with his compositions on this mainstream jazz sextet release, Cast of Characters.
Beyoncé's Black Is King's reliance on Afrofuturism recuperates the film from Disney's clutches while reclaiming Black excellence.
With Every Bad, Porridge Radio seduce us with the vulnerability and existential confusion of Dana Margolin's deathly beautiful lyricism interweaved with alluring pop melodies.
If America could come together as one nation under a groove, Karl Denson & the Greyboy Allstars would be leading candidates of musical unity with their funky new album, Como De Allstars.
Can food alone undo centuries of anti-immigrant policies that are ingrained in the fabric of the American nation? Padma Lakshmi's Taste the Nation certainly tries.
In a busy and exciting month for metal, Boris arrive in rejuvenated fashion, Imperial Triumphant continue to impress with their forward-thinking black metal, and death metal masters Defeated Sanity and Lantern return with a vengeance.
London producer Rival Consoles uses unorthodox approaches on his latest record, Articulation, resulting in a stunning, beautiful collection.
Fontaines D.C.'s A Hero's Death is the follow-up to the acclaimed Dogrel, and it features some of their best work -- alongside some of their most generic.
The first album in three decades from the Psychedelic Furs beats expectations just one track in with "The Boy That Invented Rock and Roll".
On his debut album for Mute, Berlin-based producer Nicolas Bougaïeff applies meticulous care and a deft, trained ear to each track, and the results are marvelous.
Summery synths bring highlife of the 1980s on a reissue of Nkem Njoku and Ozzobia Brothers' innovative Ozobia Special.
On Taylor Swift's Folklore, the omnipresent, world-conquering princess of self-mythology embraces a brooding post-pop texture that strikes a balance between lusty exuberance and indie-folky introspection.
Re-released on vinyl to celebrate its 15th anniversary, Lou Barlow's EMOH offers a wide array of indie rock charms.
Charley Crockett's Welcome to Hard Times invokes the same misery and corruption as E.L. Doctorow's Welcome to Hard Times: the world is just a rigged casino where one can never get a break or even hope to break even.
Improvising and brass shaking from three trombones plus tuba equal a whole lotta fun on Joe Fiedler's Live in Graz.