From the mid-90’s, Cursive developed into one of the most important groups to emerge from those blurred lines between indie rock and post-hard-core. Devourer continues their ambition, as daring as ever. Full of intense and incisive songs, the album proves exactly why Cursive have been so influential and enduring–and why they remain so vital today.

Everything fans love and expect from them. Bittersweet anthems that begin quiet but explode into soaring harmonies? Check. Songs that are play-on-repeat heart punches? Check. Songs that are poetic and thought-provoking while also being absolute belt-at-the-top-of-your-voice-with-the-windows -down masterpieces? Check.

Lyrical dexterity is alive and kicking on this uneasy funeral for Eminem’s world-beating alter ego, Slim Shady. Dialing down the hyperdrive multisyllabic sprint-rapping of recent releases, Em focuses mostly on a single topic, allowing for a more narratively engaging album. The trademark furious slander and insults are there, but balanced by a strange vulnerability. Goodbyes are always hard.

Leaning on an ever-evolving sonic palette to convey what she’s feeling—whether it be folky Americana, nineties alternative, turn-of-the-century indie, or handcrafted otherworldly pop—Waterhouse creates a collage of her inspirations, experiences, and emotions stitched together by honeyed vocal delivery, bright-eyed melodies, and evocative storytelling.

This is The Jesus Lizard reconstituted, refreshed and positively revving. This is a record teeming with the kind of madness needed to beat down today’s mediocrity and piss-perfect pop drivel alike. No showing how they’ve “matured” as songwriters. No inane detours into unnecessary genre exercises. They might not be young, but they will never, ever get fucking old.

The 13 Tony-nominated Broadway musical is a coming-of-age story based on the life of Alicia Keys featuring her iconic hits including "Fallin'," "If I Ain't Got You" and more reimagined. Despite the warnings of her protective mother, the symphony of the street calls to a 17-year-old “Ali” - promising freedom, excitement, and the possibility of love.

No Name has some of White’s most memorable riffs since Blunderbuss and is his most red-blooded rock record since Elephant. White has released great solo records since then and his live shows are a blast, but he’s never sounded quite as unshackled and delirious as he does here, pounding out the sort of wild garage blues that made his name.

A remarkable development in MJ Lenderman's story as an incredibly incisive singer-songwriter, whose propensity for humor always points to some uneasy, disorienting darkness. The punchlines are still here, as are the rusted-wire guitar solos that have made Lenderman a favorite for indie rock fans looking for an emerging guitar hero.

The Deslondes continue to build on their inventive take on New Orleans country and R&B. Roll It Out finds the band leaning on the country-folk of their debut along with the sometimes-psychedelic, electrified gospel-soul sound of their previous records. It’s a band that understands the history of American music, embracing their own contemporary approach.

Denitia shares her story of going after something new — a life back in Nashville, where she attended college, immersed in both the city’s roots music scene and the community of the artist collective Black Opry — while experiencing the menagerie of emotions that come with leaving behind what you knew and starting over.

The South London outfit’s debut is a veritable Frankenstein’s monster, stitching two-tone ska and 90s rave to a post-punk core. It’s a thrilling blend of electro-punk, rock’n’roll snarling, techno soundscapes, industrial-pop and rave euphoria. WOOF. is music for letting go to, the polar opposite of “thinking music”.

Entrepreneur. CEO. New York Times best-selling author. Activist. Designer. Actress. Model. Influencer. DJ. Recording Artist. Mother. Icon. Synonymous with pop culture, Paris Hilton needs no introduction. In her latest chapter, Hilton makes a triumphant return to the recording studio with her second album, executive produced by Sia.

Having spent two years on stage and on TV, Brighton, UK's The Heavy Heavy now draw listeners even deeper into their dreamworld with their long-awaited debut album, One Of A Kind. Written entirely by co-founders Georgie Fuller and William Turner, the album expands the sunshine psych-pop & folk sound of their debut EP which won massive acclaim.

The The's first album in a quarter century, Ensoulment encompasses characteristic topics ranging from love & sex, war & politics, life & death, to the meaning of what it is to be human in the 21st century. The album also marks the return of co-producer and engineer Warne Livesey, who previously worked on landmark albums Infected (1986) and Mind Bomb (1989).