Fotocrime's Principle of Pain is a synth-heavy post-punk album with elements of goth-rock and darkwave that shows a whole new side to Ryan Patterson as an artist.
A gift for Feelies fans, this 1987 side project from Yung Wu, Shore Leave, is finally available on CD.
On Beyondless, Iceage feels as if they've arrived and the stage is all theirs.
With influences that range from Killing Joke to the Cure, Withered Statues make the familiar new again on new single "Betrayal".
Los Angeles band with a predilection for English sounds, Dear Boy, gets visual ahead of a tour with Rogue Wave.
Avantist's new single "_violence" invokes a sense of paranoia and building rage built in the computer age.
The indie pop legends' late-period resurgence continues with a strange record seemingly built to please die-hards and slightly confound everyone else.
Pere Ubu's latest reissue shows a band known for abrasive rock music, with a vocalist more likely to screech than harmonize, taking a left turn towards late '80s radio pop-rock.
Disappears have gone, but its former members in FACS take the mission to new terrain on Negative Houses.
Negative Houses shows FACS to be fairly deep in the lineage of Chicago's long, storied history of dissonant post-punk.
Post-punk revivalists Preoccupations are as good as ever, but their third album smooths down their rougher edges and turns their nervy gaze inward.
Moaning masterfully employs dichotomies to craft a record that grows more rewarding with each spin.
Luis Vasquez (a.k.a. the Soft Moon) turns personal pain into an aggressive, cathartic beauty on new album, Criminal.
"Standing on the Edge of Tomorrow" ends up as much a powerful expression of present dystopian fears as it is a kicking throwback to '80s goth rock.
Showtime's XTC: This Is Pop draws worthy attention to this underrated band. But does their music still hold up?
On their most polished album to date, Montreal art-rockers Ought strike a balance between the old and the new.
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