Maya Hawke’s sophomore effort MOSS feels more spare than 2020’s autumnal Blush, as though the passing season has diminished its lush foliage to a spectral winterscape, the bare bones of the Stranger Things actress’ creative soul protruding upward through the snow.

Originally released in 2021 and now in its second pressing, this single LP collects all of the recorded work by 2000s Philly-area straight-edge hardcore band One Up, who played shows with hardcore legends like Agnostic Front, Bane, Have Heart, and many others.

Similar to Blind Willie McTell’s Last Session, the fact that Lou Reed’s Words & Music, May 1965 exists is as stunning as anything the recording contains.

Coming after The Beths’ raw and energetic 2018 debut (Future Me Hates Me), the band’s sophomore album, 2020’s Jump Rope Gazers, was a more polished, introspective, and melancholic affair.

For their first album in five years, the psych-rock of Austin’s The Black Angels sounds like a beast that only gets stronger and heavier over time on Wilderness of Mirrors.

Death Cab for Cutie’s 10th studio album Asphalt Meadows represents a return to the band’s classic sound, most strongly resembling 2000’s We Have the Facts and We’re Voting Yes and 2011’s Codes and Keys.

Suede have pulled off arguably the most successful reformation and comeback in recent years.

It should be a crime for the duo of Julien Ehrlich and Max Kakacek to release another of their shimmery summery albums on the eve of autumn.

It’s hard to believe that it’s been 10 years since DIIV’s debut LP, Oshin, was released on Captured Tracks in 2012.