Brooklyn bedroom-pop trailblazers Beach Fossils’ new album Bunny, is a triumphant return for one of the 2010s most influential NYC bands. Bunny is a precise blend of the luscious dream-pop atmospheres they notoriously honed on their earliest projects, the post-punk vigor expressed on Clash the Truth, and the warm, sophisticated songwriting of Somersault. Composer Dustin Payseur peppers the album equally with descriptions of the joy of fatherhood and the existential pleasure of smoking cigarettes out of a car window with friends - Bunny features Beach Fossils' most personal lyrics to-date.

Challenging his considerable legacy with one of his most extraordinary projects to date, celebrated British artist, producer, composer and experimentalist Matthew Herbert presents The Horse.

Kevin Morby writes (and records, and imagines) at an almost incomparable clip, and his most recent album, This Is A Photograph, studies life, time and mortality through myriad lenses. It’s a dynamic, buoyant record on big, heavy themes, so it only makes sense that Morby found he wasn’t quite done with it on its completion. More Photographs (A Continuum) finds new nooks, corners and vantage points. “If This Is A Photograph is a house that you have been living inside of,” says Morby, “then More Photographs is, perhaps, the same home just experienced differently. As if you, its inhabitant, have taken a tab of something psychedelic and now, suddenly, you’ve replaced your eyeglasses with kaleidoscopes.”

Life is horribly dark right now. And yet, it is not unfunny. That’s the sentiment that animates Water From Your Eyes on their new album, and first for Matador, ‘Everyone’s Crushed,’ out May 26. On the follow-up to the Brooklyn duo’s 2021 breakthrough, ‘Structure,’Rachel Brown (they/them) and Nate Amos (he/him) find silliness and fatalism dancing in a frantic lockstep, using heart palpitating rhythms and absurdist, deadpan lyrics to convey stories of personal and societal unease. Described by Brown as Water From Your Eyes’ most collaborative record ever, it’s a swollen contusion of an album: experimental pop music that’s pretty and violent, raw and indelible.

The occasion is Music Man, the wonderful new album by veteran Nashville based songwriter Layng Martine Jr.. A long-time dream project instigated by his son, Portland Oregon based super-producer Tucker Martine. A new Tucker Martine production is in itself an event due to his track record. His studio, Flora Recording and Playback has brought us wonderful albums by the likes of My Morning Jacket, Sufjan Stevens, Neko Case, Case/Lang/Viers, The Decemberists, M. Ward and Laura Veirs (who happens to be his wife as well as one of the country's most underrated artists) among many others.

It is my goal to create an otherworldly realm tying in imagery that embodies different facets of ‘The Goddess’ or the ‘Faerie Queen’ - dark intensity conjunct with euphoric beauty.

Artifacts began humbly as a means of compiling a few early Beirut EPs for a proper physical release. However, as Zach Condon explains in album’s excellent liner notes, reconnecting with old recordings through fresh ears turned a simple re-issue project into something much more expansive. “When the decision came to re-release this collection, I found myself digging through hard drives looking for something extra to add to the compilation.

2022 saw the release of Horse Jumper of Love’s latest full-length, Natural Part, and now less than a year later, the band are back with an unexpected new release. Heartbreak Rules is a mini-album of sorts: a collection of eight completely fresh songs, two reimagined versions of standout tracks from Natural Part, and a cover of The Smashing Pumpkins classic, “Luna.” But the most striking thing about Heartbreak Rules is the volume–or more specifically, the lack of it. This is a sparse, intimate version of Horse Jumper of Love, one that forgoes the waves of fuzz and feedback, and instead highlights the indelible songwriting at the core of their music.

bar italia, the London trio of Nina Cristante, Jezmi Tarik Fehmi and Sam Fenton, release their new album Tracey Denim, on Matador Records. Tracey Denim was recorded and produced by bar italia with mixing from Marta Salogni. It features the single “Nurse!” which was released in March to acclaim, and described as “a hypnotic post-punk ballad” (The Guardian) and “narcotically arresting” (Pitchfork).

On the album, Sir Chloe says: 'I Am the Dog' is an investigation of control: the agency we have and forfeit throughout our lives, and the way that transforms us. The dog is one thing to the shepherd and another to the sheep. The less you know, the better'.

Part experimental indie and part ‘70s soft rock, Califone’s first record in three years finds creative force Tim Rutili reaching new levels of harmony, fragility, and confidence.

It's been only about six months since La Femme released their Spanish language album Teatro Lucido, and the Parisian band are already back with another new LP, Paris-Hawaï, which will be out May 19 via Disque Pointu.

“There’s a lot of healing and a lot of forgiveness in these songs,” says Pete Francis. “It can be scary to face your fears and ask the tough questions, but sometimes you have to step into the darkness in order to find your light.” That juxtaposition of darkness and light lies at the heart of, PTRN SKY!, Francis’ captivating new album and first full-length release since his 2019 departure from Dispatch.

A simple declaration of peace and reality shouldn’t ignite a movement, but when it does, it’s good to have a photographer around.

Iranian-American singer-songwriter Rahill announces a deeply personal solo project ‘Flowers At Your Feet’ on Ninja Tune imprint Big Dada, her new label home in which she sits comfortably alongside labelmates Yaya Bey and LYZZA.