#post-rock

#post-rock

Neurosis had silently split with cofounder Scott Kelly, keeping his domestic abuse and emotional manipulation and subsequent dismissal quiet to respect his family's wish for privacy.

Her slowly shifting synthesizer compositions and quiet, meditative pieces for acoustic instruments continue to inspire a deep immersion in their audiences, and her recordings and writings have influenced multiple generations of musicians worldwide.

Seefeel will return with their first full-length in 15 years, Sol.Hz, on May 1, via their longtime label Warp. The follow-up to their 2024 mini-albums Everything Squared and Squared Roots will arrive in the middle of a tour of mainland Europe that starts in April.

The gift of skaiwater's best music is its unique shape, blown-out underground rap styles carefully folded into delicate origami. Forget every preconceived notion you might have about 'rage rap' and put on 'rain'-it's so pretty, a butterfly fluttering around a bomb site. On that album, skai harnessed beat drops like wrecking balls crashing into the walls of their heart.

Tim Zha is looking for the soul in the machine. While some might hear Auto-Tune as masking a singer's humanity, the London-based artist filters his vocals to highlight technology's inseparability with our notions of self. This is ground well-trodden by Afrofuturist techno pioneers, Atlanta trappers, and PC Music hyperpoppers; for Zha, Auto-Tune represents what he calls the "coincidence of human subjectivity and the networked machine system."

When people talk about the quintessential music of early 2000s New York, it's often scuzzy new rock bands like The Strokes and Yeah Yeah Yeahs, the burgeoning dance-punk scene led by LCD Soundsystem, or the city's ever-booming hip hop movement. But there's arguably one album that in its own quietly revolutionary way, may just be the most significant work of that city's fertile period: Basinski's The Disintegration Loops.

Deathcrash will release their third album, Somersaults, on February 27. The follow-up to 2023's is the London slowcore band's latest for Untitled (Recs), and they'll celebrate its release with a show in the label's New York hometown, at Night Club 101, on February 26. (Find the rest of the band's tour dates on their website.) Listen to the Somersaults title track below, and scroll down to find the album art and tracklist, which includes the recent single " Triumph."

Inner Magic is the duo of former Chromatics guitarist Adam Miller and former Smashing Pumpkins guitarist Jeff Schroeder. They met in 2024 and bonded over their love of '80s UK indie legends Felt, krautrock and the Vinnie Vincent Invasion, and then decided they should make music together.

Paradessence draws its title from a portmanteau of "paradoxical" and "essence," coined by author Alex Shakar. Per Visible Cloaks, the word embodies the oppositional-but-coexisting concepts they're trying to explore with the new album. "Instead of creating pieces that function horizontally as environments, we wanted to conceptualize them as living material changing in space, continually in flux," Doran shared in a press statement.

His first albums under his own name, 1995's Earth & Nightfall and 1996's cult classic Ten Days of Blue, were blissful-sounding ambient techno records that took the melodic sensibilities of the local scene to their cosmic extremes. Every beep and blip was in harmony with a lush string line, the rhythms less like breakbeats or programmed drums than trance-inducing hammered dulcimers.

Take the title of The Spiritual Sound as a kind of syllabus, and you'll find a heady list of musical reference points that Agriculture aim to exalt. The jarring intros of black metal songs that make you feel like a portal to Hell has opened inside your headphones. The sound design on later Scott Walker arrangements meant to conjure a Biblical plague. The slow, majestic build of post-rock epics that hold back their climax for maximum transcendence.

KAVARI's music sears like a controlled fire, destroying the underbrush to make room for the new. That was literally true of the Glasgow-based producer's 2025 EP Only Pleasure in Flame, a collection of slash-and-burn field recordings that sucked the air right out of your ears. The Scottish sea air has produced a number of maverick electronic musicians- Rustie, SOPHIE, Hudson Mohawke, Proc Fiskal-and in recent years, KAVARI's prolific, sound design-forward work is arguing the case for her induction into the pantheon.

Angel Marcloid is never one to let a mood pass her by. From the demented genre-slush of Fire-Toolz to the full-throated jazz fusion pastiche of Nonlocal Forecast, the Chicago-based artist's prolific, slippery oeuvre is the extension of a life lived in service of the id and the endless pursuit of new intuitions. "I have no idea what it's like to not know what music to make," she once explained.

In a 2019 interview with Machine Music-one of the few he's ever given-Patrick Walker pushed back on the notion that Warning makes "very loud folk music." His retort, palpably prickly even in text: "I don't see that connection there. Warning was very much about riffs, and was a metal album." It's understandable that Walker's interlocutor would pursue this line of questioning. Warning's singular approach to doom metal has a way of making you disbelieve your own ears.

Green-House will release new album Hinterlands on March 20. The Los Angeles duo of Olive Ardizoni and Michael Flanagan has left their longtime home of Leaving to sign with Ghostly for the follow-up to A Host for All Kinds of Life. Listen to a new song from the record, "Farewell, Little Island," below, and scroll down for the album art.

The work behind "Waiting for You" by Monotronic spanned two years and several geographic mindsets. Its songs were built in the contained spaces of an East Village apartment and the open humidity of Tulum, initially seeming like disparate projects with no clear direction. Only in retrospect did their shared disposition come into focus. This is an album about the slow work of self-knowledge, which here looks less like an epiphany and more like the gradual acceptance of a particular signal,

Fresh off the release of the Eyeball EP in January, They Might Be Giants have now announced their new album, The World Is to Dig, and released its lead single, "Wu-Tang." Out on April 14th, The World Is to Dig marks the band's first full-length album in five years, following their Grammy-nominated LP, BOOK, that came out in 2021. The World Is to Dig will feature 18 new tracks. An exclusive 180-gram vinyl color variant of the LP will be available at indie retail shops on April 17th. Get They Might Be Giant Tickets Here "Wu-Tang" is the first glimpse of what fans can expect, and if its sweetly nostalgic, 60s-esque sound is anything to go by, The World Is to Dig will be a romp through the past. Stream the new track and see the artwork below.