Fucked Up’s new record marks a departure from the hefty concept albums for which they’re most revered and adored. While 2011’s David Comes to Life and 2018’s Dose Your Dreams reveled in their magnitude, length, and epic scope, One Day is a brief, brilliant fireworks display of an album, written and largely recorded in the space of a single day.

Samia has already impressed as one of the pandemic’s rising freshman indie pop class, debuting in 2020 with the sunny and melancholic tones of The Baby. Her debut and her follow-up EP, Scout, both cultivated a style that thrived on confession, sweeping melodies, and the gentle glimmer of Samia’s voice, a warm and winning combination that proved easy to love.

Dublin post-punk quintet The Murder Capital are back with an exhilarating second record.

Filled with staples of Grateful Dead shows, the 2-CD 50th Anniversary Deluxe Edition of Bob Weir’s first solo album brings back into the light a string of songs that deserved their place in hundreds of setlists to come.

Forever pushing the boundaries of pop, punk, and experimental music, John Cale has been a constant presence at the frayed edges of rock ‘n’ roll for the past six decades.

James Yorkston is a bit of a renaissance man. When he’s not carefully crafting modern folk tunes on the Scottish coast and writing books, he’s teaching himself the piano.

Tor Maries feels like she’s just going around and around, she tells us over and over on CACTI opener “balance is gone.”

Belle and Sebastian are full of surprises, aren’t they? Surprise number one is that their twelfth album, Late Developers, comes only around seven months since the release of 2022’s A Bit of Previous.

Cellist Alexis Castrogiovanni’s transition from classical musician to alternative singer/songwriter is intriguing to witness.