Their first LP for Sub Pop, Built to Spill’s When the Wind Forgets Your Name ends a seven-year vacancy of original, guitar-tempered indie rock.
TV Priest’s My Other People pushes sonic boundaries while still sounding post-punk. The breadth of styles here is impressive, as is the musicianship.
By weaving in and out of broader and more intimate concerns, Rolling Blackouts Coastal Fever’s Endless Rooms possesses a wide scope that ties together.
Beach House are always tinkering around the edges of their sonic universe, getting darker, weirder, subtler, and more expansive. They do that on Once Twice Melody, and the payoff is enormous.
Charlie Gabriel’s ’89’ is not the sound of a smokin’ hot New Orleans gig. Instead, it embodies the after-gig atmosphere of playing some old favorites.
Sub Pop gives loving, reverent treatment to Mudhoney’s sophomore album. Every Good Boy Deserves Fudge celebrates its 30th birthday.
Japan’s CHAI tend toward high energy and irrepressible positivity, all with a satisfying rock edge. Wink opens not with a bang but with full-body synthpop bliss.
Dutch post-punk, pop trio the Homesick blend a host of influences, from Scott Walker to Meredith Monk, in with their kaleidoscopic sound on their second album, The Big Exercise.
Bridging disparate influences like Portishead and Das EFX in his multifarious hip-hop, Porter Ray waxes poetically about the troubles in own his life and in the world around him in this interview.
Double Negative sees Low continue their tradition of producing highly emotional music and delivers their most powerful, direct, and moving work yet.
Sam Beam is still able to express that nostalgic combination of melancholy and hope, even when taking a safe approach to songwriting on Weed Garden.