Greetings from the Sunshine State. Indie rock darlings flipturn paint a lush soundscape of Florida monsoons, jewel-toned dragonflies, and crystal clear river waters with the rich lyrics of their latest release, Burnout Days.

Overheard’s indie rock/folk/grunge debut album is compact and more than a little unsettling.

Is punk rock dead? Whatever anyone’s answer may be, Amyl and the Sniffers don’t care either way.

Fashion Club’s new album A Love You Cannot Shake is cinematic. It’s distracting. It’s peaceful. The artist makes you sonically want to follow her every move, from first track “Faith” to final track “Deify.”

Vancouver-based band Peach Pit has gradually carved their niche with chilled out, everyday lyrics and a distorted guitar sound.

“I can handle, way more than I can handle.” The opening lines of Bon Iver’s final track of the new EP SABLE, speak with a newfound clarity.

Exploring Cave Radio's Self-Reflective Terrain with Atlas

Indie rock’s trademark sad girl Soccer Mommy released her fourth album, Evergreen, on October 25, just in time for those bleak autumn-into-winter nights.

Every generation has a subgenre that has defined its coming-of-age journey. For much of Gen Z, that subgenre has been sad-girl pop rock… and no one captures the simultaneous shining excitement and heart-wrenching nostalgia of growing up quite like The Greeting Committee.

The newest release from The Lemon Twigs is, in fact, dreamy. Written about the fictional Mersey Beach, A Dream Is All We Know conjures mental images of vintage boardwalks with women in modest floral swimsuits and chubby tykes licking strawberry ice cream cones.

"But I’ll Wait For You" has a mellow, organic flow like swimming through a lazy river at night.

For genres to continue to be innovative, fusing different styles from a diverse amount of places will inevitably be a part of that process. Blvck Hippie, a Memphis-formed indie rock band, embodies this innovation through their new record, Basketball Camp.

Texas duo MISSIO releases their fifth album

Thirty-two free minutes and an open mind is all you need when preparing to listen to Nisa’s new album, Shapeshifting. This album truly takes you through a dreamlike journey of consciousness as you hear her break the bounds of what music can be defined as and she shows that you can look to the past and the future in the same beat.

A crucial task of any entertainment connoisseur is the process of discovery, always expanding and refining one’s palate. Through this, one not only becomes a better consumer, but grows as a multifaceted individual. Without a doubt, Of Montreal’s discography, especially Hissing Fauna, Are You The Destroyer?, has deepened my appreciation for the medium of music and changed the way I perceived what could be possible with songwriting. This most recent entry, Lady On The Cusp, the group’s 19th(!!!) studio album, continues this course.

'Rock's Greatest Duo is Back with God Games

The first Black Pumas self-titled album was an instant favorite of mine. Every song on it was groovy and catchy, making me feel like driving a convertible away from an explosion while smoking a cigar.

“Everybody grieves different.” We can empathize, but not fully sympathize, with one’s loss. Javelin, however, allows us to do both.

There is no question that independent/local/regional bands are grinding out there and putting out better music than much of what’s heard on the air waves and satellite radio. One such band is Kansas City’s Various Blonde, who could and should be on the radio and on your playlist.

In a world where country music continually pedals the “pickup truck and tequila” narrative, Nashville songstress Margo Price dares to do things differently and unapologetically her way.

In this dissertation I will…just kidding. Kind of. Readers beware: if you’re looking for an unbiased review of boygenius’—the indie supergroup featuring Phoebe Bridgers, Lucy Dacus and Julien Baker—newest album The Record, this won’t be it.

M83”s ninth studio album, Fantasy, is a beautiful conundrum. The album is filled to the brim with rich, sweeping synths and deliberate, thought-provoking imagery.

Gorillaz’s work has always been hit or miss for me. Some tracks are among the grooviest, wackiest, and most experimental I’ve ever had the pleasure of listening to. Some tracks are a bit too daring, alienating me from wanting to listen to it again.

Pop’s most prolific princess returns with another sprawling collection of confessional songs ruminating on life, death, love and loss.

I have never had writer’s block quite like this when reviewing an album. I have spent weeks sitting on my thoughts, trying to marinate my mind with the record and its use of sound. It’s so familiar, until it isn’t.

Confession: I have not listened to a Paramore record before this one. Obviously, I’ve heard “Ain’t it Fun,” “Still Into You,” and “Misery Business” from the radio and various TikTok trends, but I can’t say I’ve sat down and listened to any of their five previous albums.

Think you’ve heard every iteration of the “pandemic album”? Think again. Electro-pop duo Sylvan Esso is back with No Rules Sandy, the follow-up to their 2020 album, Free Love.

It’s no secret that the aughts are back: the teens are reviving low-rise jeans, Crocs are no longer worn ironically, and the nostalgia around an age before the pervasiveness of social media has never been stronger. So how do you make music that encapsulates that feeling without being completely derivative? Enter Maggie Rogers’ newest album, Surrender.

Grab your sunglasses, pack your sunscreen, and make sure you’ve still got your summer weekends all freed up, because Two Door Cinema Club has done it again!

On the heels of Interpol’s Turn on the Bright Lights 20th anniversary comes the band’s seventh studio album, On the Other Side of Make-Believe. Ebbing the flow of any fanfare that will arise from celebrating TOTBL, one of the best indie/alt-rock album releases of the 2000s, Make-Believe has ushered in a new era of Interpol music.