The Swedish melodic death metal pioneers newest offering explodes to life with the catchiest of deathness, but there are a lot more flavors being explored here. Most notable are the progressive elements that crop up across The Nightmare of Being, and lavish orchestrations expand the dramatic scope, all of this well-executed and inarguably the work of a confident and seasoned band.

Primal Scream frontman Bobby Gillespie, alongside Savages’ Jehnny Beth, explore the loss, miscommunication and emotional inarticulacy that a married couple experience as they realize their relationship is breaking down. Utopian Ashes draws on the tradition of country soul classics, such as Gram Parsons and Emmylou Harris’s Grievous Angel and George Jones and Tammy Wynette’s We Go Together, to deal with the heavy realities of love turning sour.

The time period between The Absence’s previous 2018 release and the COVID outbreak saw the band stay busy with other outside endeavors, with drummer Jeramie Kling manning the kit for Venom Inc., bassist Mike Leon with Soulfly and Cavalera Conspiracy, and guitarist Taylor Nordberg with Massacre. With those experiences the band reconvened to put together 11 tracks of pummeling death metal that compose Coffinized.

Steeped in gospel, Southern soul, indie folk, and alt-country with tinges of blues, rock, and jazz, Quietly Blowing It is an intimate and introspective offering that finds M.C. Taylor ruminating on themes of growing up, alienation, obligation, hope, purpose, family, class, self-discovery, healing, and rebuilding, fashioned with impressionistic tones.

One of the words that John Darnielle used when talking about the direction for Dark in Here was "wild." Not wild in the sense of abandon - these aren't those kind of songs. But wild in the sense of something undomesticated, untamable. Wild like the immutability of nature. Like a powerful animal. Or a virus - the beast that awakes, emerges from a forest, and stops the world. You can fight the calamity all you want, but either way, it's going to demand your surrender.

This new gift from Dacus, which features vocal contributions from boygenius bandmates Julien Baker and Phoebe Bridgers, was built on an interrogation of her coming-of-age years in Richmond, VA. Many songs start the way a memoir might, all of them have the compassion, humor, and honesty of the best autobiographical writing. Most importantly and mysteriously, this album displays Dacus's ability to use the personal as portal into the universal.

After his autobiographical debut album, The Good & The Bad, Brooklyn artist/actor Anthony Ramos returns with his sophomore release, Love And Lies, an adrenaline-filled record that leads listeners through a night out filled with lust, passion, and losing oneself in living on the edge. Proclaimed as Ramos’ most matured music to date, the album — like Ramos himself — is multi-genre from pop with “Lose My Mind”, to R&B on “Control,” and the Latin- inspired “Échale.”

A torchbearer of the Texas songwriter tradition, Emerson channels the straightforward truth-telling of his songwriting heroes in Townes Van Zandt, Guy Clark, and Steve Earle into something fresh and distinctly his own. Where his 2019 debut proved that he is one of the most reverent students of country and Western musical traditions, his follow-up is a brave step forward that solidifies his place as one of music's most compelling and emotionally clarifying storytellers.

Heading into the spring of 2020, T. Hardy Morris had 12 demos that he thought would make-up his next album, then, everything changed. The world took a break and so his plans to record did as well. He scrapped the demos and began a collection of songs in quarantine where the unprecedented times and topics were unavoidable. “I wanted it to sound like how the world felt to me in the second half of 2020 - uncomfortable and chaotic, dystopian but still beautiful.”

The Golden Casket hovers in the liminal space between raw punk power and experimental studio science as frontman Isaac Brock explores themes ranging from the degradation of our psychic landscapes and invisible technology, to fatherhood. The twelve tracks behave like amorphous organisms, undergoing dramatic mutations and mood swings that speak to the chronic tug-of-war between hope and despair that plays out in Brock’s head.

Unleashing influential albums with devastating anthems for over 30 years, Fear Factory is widely recognized as both crucial and innovative in extreme metal circles. Fear Factory manufactured, demanufactured, and remanufactured a sound that reverberates across several subgenres. Aggression Continuum is the band's tenth studio album, their latest since 2015's Genexus.

With the upcoming new album, which not without reason simply bears the band name as its title, Helloween are opening a new chapter in their glorious career after more than 25 years of band history: From now on, the future of one of the most influential German metal bands in the world will take place together and with three singers - what started as a live idea was the birth of a seven-piece metal instance in a unique line-up.

The brand new studio album from one of the biggest reggae bands in the world. In The Moment finds Rebelution ruminating on time, living in the present and making your future better. The grammy-nominated band's first full length studio album since 2018's Free Rein, ITM brings 15 new tracks with guest appearances by Busy Signal, Kabaka Pyramid, Durand Jones and Keznamdi.

Mammoth WVH is the debut, self-titled album of Mammoth WVH – the band created by Wolfgang Van Halen. In addition to writing and singing every song, remarkably Wolfgang plays every instrument. “The name Mammoth is really special to me.” says Wolf. “Not only was it the name of Van Halen before it became Van Halen, but my father was also the lead singer. Ever since my dad told me this, I always thought that when I grew up, I’d call my own band Mammoth, because I loved the name so much.”

Big Mess marks Elfman’s first solo collection in more than thirty years, but it’s no return to form. Clocking in at 18 tracks, the sprawling, ambitious double album finds the Grammy and Emmy Award-winning composer breaking bold new ground as both a writer and a performer, drawing on a dystopian palette of distorted electric guitars, industrial synthesizers and orchestra in an effort to exorcise the demons brought about by four years of creeping fascism and civil rot.

Garbage return with their seventh studio album No Gods No Masters, to be released 11th June 2021. “This is our seventh record, the significant numerology of which affected the DNA of its content: the seven virtues, the seven sorrows, and the seven deadly sins. It was our way of trying to make sense of the craziness of the world and the astounding chaos we found ourselves in.” -Shirley Manson

The title is more of an attitude than anything else, answering the question what if the four boys were sitting on a porch together and someone begins to sing a favorite old Gospel song or a country and Western standard, and everyone else just joined in? That is what happened at RCA Studio A, but, under producer Dave Cobb’s leadership, it turned into so much more. Dave and co. kept coming to the table with terrific creative ideas to enhance the Front Porch experience.

The album was written and recorded during the pandemic, and though COVID-19 restrictions didn't allow Ward (At The Drive-In, Sparta) to record the album in person with other musicians, it does feature a very notable rhythm section: bassist Ben Kenney of Incubus (and briefly of The Roots) and drummer Tucker Rule of Thursday. "My friends did this for the pure love of making music with a friend," Ward said of Ben and Tucker.