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Born in Bratislava and boosted by reality TV, pop’s latest aspirant arrives with a debut album that’s got all the makings of an edgy cult fave. If only the music were more interesting
Nate Amos trades the magpie charm of his past solo work for a warm, twangy, and tightly constructed approach. It’s the sound of a songwriter sketching out his own gospel.
On what he has hinted may be his final “traditional” LP as Bonobo, the UK producer cycles through moods and styles, with a particular focus on the clubby soundscapes of his DJ era
After more than a decade away, Brittany Howard’s influential rock band still has a knack for righteous, retro catharsis, but the signature moves can’t help but feel a little safe
The stoner-doom institution returns, minus founding guitarist Matt Pike, for a monotonous album of timid riffs and bad weed puns
The L.A. quartet expands its sound for its major-label debut, channeling post-adolescent anxiety into pop-punk inflected with new-wave, hardcore, and post-punk
A year after his mother died of an overdose, the boundary-breaking bluegrass guitarist returns with an idiosyncratic and personal new record
The Oklahoma sludge-metal band has never spoken in subtleties, but its third album is its most pointed statement yet: a merciless depiction of a world in decline
The neo-soul priestess and the hip-hop producer throw it back on a seductive, pleasantly rambly collaborative album that returns them both to their roots.
The My Morning Jacket frontman sounds graceful and unburdened on his latest solo album. It’s his strongest work in a decade
On their fourth album since reuniting, Greg Dulli and co. seem animated by a desire to keep learning, pushing the soul-grunge of their past into more graceful territory
The Beastie Boy strikes a reflective tone on a solo album made up of frenetic, funky glitch-rap-electro-punk beats reminiscent of his remixing work. Nothing quite sticks
On its first album since the death of guitarist and vocalist Brent Hinds, the metal band reckons with grief while gesturing toward the wild, energetic sound of its past
The much-hyped Manchester group sheds some of its early country influences, focusing instead on tightly wound indie rock and sharp, thoughtful songwriting. It’s a winning combination
The trio’s first album in five years marks a gloriously messy return to form, dredging up the scuzz of the group’s early work and privileging melody over showiness
Working with producer Andrew Wyatt, the band turns in a strong and suitably dour album that nonetheless carries the frustrating tinge of more interesting possibilities
The seven-track companion to 2024’s Something in the Room She Moves blends new songs with reshaped versions of previously released material to offer a new glimpse at the L.A. musician’s creative process
With Waylon Jennings’ drawl and a profound sincerity, the Killers frontman sells the blustery, Nashville-via-Utah sound of his gaudy but affecting new country album
Kurt Wagner reinvents his band yet again, this time slimming down to a bare-bones acoustic setup and stripping away the studio artifice. But his storytelling remains as expansive as ever
