“No days off,” 03 Greedo says definitively, hopping into a car in Philadelphia. He’s almost at the midpoint of a massive, month-and-a-half-long tour, and I’ve managed to get him on the phone on a day without a show. There’s a lot of noise in the background: the chatter of his team, the low hum of nearby traffic, the beeps of a backup guidance system. “If we don’t got a show, we’re shooting videos and shit. I got a lot of artists, so I don’t waste no time. Every day.” When I ask how he maintains that energy, he explains, “Music is what I do for fun. The work is never work.”

Chuck Cleaver says that when all the members of the Cincinnati band Wussy get together for what’s supposed to be two hours of practice, it ends up being an hour and 45 minutes of just shooting the shit, and then 15 of actual playing.

I ran out of plays. Bandcamp wouldn’t let me listen to Shop Regulars’ self-titled debut LP anymore without buying it, and the album isn’t available to stream on the usual DSPs. Fortunately for cheapskates, there’s a band-approved YouTube upload of the whole inspired half-hour, but Shop Regulars is $7 well spent, especially if you’re acquainted with the joys of repetition. I’m not sure I’ve listened to anything more since I first encountered the album a month or two after its June release.

For over 30 years now, Ghostface Killah has rapped each whirlwind verse like a bomb was ticking down and he needed to empty his cranium of all transgressive thoughts before gloriously exploding into a thousand pieces at the end of the song.

Next month, Australian indie rockers Vacations are bringing their very own festival MATES to the Bellwether in Los Angeles. Devised and curated by the band’s frontman Campbell Burns, MATES features acts from Australia and America (and one from the UK), intended as a showcase and a conversation between acts Burns has long admired.

From a distance, Blood Incantation’s work can seem forbidding. The Denver death metal experimentalists have spent the past decade fleshing out a universe that encompasses not only their frequently challenging music, but also a codex of hallucinogenic imagery that can seem inscrutable at first glance. That iconography permeates their album artwork and ephemera as well as their lyrics; fully appreciating Blood Incantation, for better or worse, has always meant trying to figure out what’s up with all the aliens, pyramids, and obelisks. If a reliably entertaining, easy-to-parse death metal band like Cannibal Corpse is Star Wars, then Blood Incantation is the final 20 minutes of 2001: A Space Odyssey. They even have their own star child.

It’s not often that a fingerstyle guitarist transcends their arcane niche. Yasmin Williams has managed to wander from the experimental underground and land under a bright spotlight. The Northern Virginia-based artist became interested in rock and metal after playing Guitar Hero 2 as a teenager. An innate knack for shimmering, melodic composition later became apparent as she tried to translate her riff ideas to the acoustic guitar. Williams went on to study Music Theory and Composition at New York University. She released her solo debut, Unwind, in 2018, shortly after graduating. In the years to come, Williams has toed the line between cosmic jam staple and ascending cornerstone of the folk circuit.

In the waning days of this summer, Geordie Greep unceremoniously announced the end of his feverishly beloved band Black Midi. After initial confusion and suspicion that the trio might just be trolling us, the split was confirmed. Soon after, Greep officially announced his solo debut album. As if to underline the finality of it all, it was boldly titled The New Sound.

Every few years, someone on social media posts a clip of one of the strangest late night musical performances to ever grace American televisions. “They make a tremendous amount of noise,” Jimmy Kimmel deadpans, just barely preparing his audience for Seattle art-punks the Blood Brothers. After an initial squall of feedback, drummer Mark Gajadhar begins pounding his snare, and the band roars to life. Singer Johnny Whitney immediately launches into a high-pitched squeal followed by a full-throated scream — he sounds like a chipmunk in the jaws of a snake. He whips his mane of chestnut hair around wildly as he shimmies across the stage. His co-vocalist Jordan Blilie, meanwhile, stalks the stage with the stiff gait of Frankenstein’s monster. “Take me to the pit of celebrity pregnancies,” he screams on the chorus. “I wanna wear the skin of a magazine baby!” Not exactly your typical late-night performance.

At Pity Sex’s Bowery Ballroom show in August, I talk with Steve Hartlett of Ovlov for a half hour in the smoking section then bump into Jon Simmons of Balance And Composure and tell him I love the new record. It’s hard to believe this is all happening in 2024 and not 2014. In addition, Superheaven and Basement are active again after years of being quiet. While Emo Nite and When We Were Young Festival are busy capitalizing off of the nostalgia for early 2000s mainstream emo, the smaller scene that took place in the early 2010s is being resuscitated.

Allegra Krieger sits down at Kiki’s, a cozy and chic Greek restaurant that occupies the end of Division Street, and starts discussing memories of her childhood. Growing up, the singer-songwriter bounced around from state to state, moments from each era fading and binding together with each subsequent move. First, it was Pennsylvania — the suburban structure pales next to the swampiness and underbelly of Florida, her second location. Childhood affects all the ideas you formulate during your adulthood, and Krieger’s music is for the small moments in life, when you find yourself stuck in the woods and can remember the sound of the crickets percolating. “There’s always glimpses of certain domestic moments,” Krieger says. “There’s intimate moments with neighbors. The world is spinning above you as a child, and as I grew older, certain ideas stuck out. What can be chaos can turn into perspective.”

“A straightforward message is not interesting for me,” says Nilüfer Yanya, calling from her home in east London. Yanya punctuates her sentences with her bright laugh or an introspective hmmm and shades in her remarks with a running metacommentary. “I get inspired writing about something that’s a bit less clear.” My Method Actor – Yanya’s third album, released this month – makes good on her belief that the strongest ideas often exist in the in-between. A rumination on slippery but intriguing themes, including memory and nostalgia, the album sees her develop her rich style of storytelling.

“FUCK! FUCK! FUUUUUUUCK!”

Madeline Johnston’s lyrics speak for themselves: “All of my songs are love songs…All of my songs are about death.” This refrain from “Killdozer” on No Depression In Heaven, out today, comes later in the record, after songs about the omnipotence of rock and roll and a funeral dirge for a Toyota Sienna. Johnston’s music as Midwife is simple on the surface but so is mourning. There’s an obvious sadness to a funeral, but there’s also a swelling of emotions inside each mourner, complex and delicate, that aren’t as easy to articulate.

Few bands experience an evolution as dramatic as Soft Kill’s. The band began with a few records that were sinister and synthy — in the realm of Cold Cave or Drab Majesty — perfecting the sound on their third album, 2016’s hypnotic Choke. Things got more intense and louder with its follow-up, 2018’s Savior, then leaned into more traditional post-punk on 2020’s cheekily titled Dead Kids R.I.P. City, a play on Kendrick Lamar’s good kid, m.A.A.d city. After that, they released a record a year since 2022, each one less predictable than the one before it.

I’ve always thought of Horse Jumper Of Love songs as charms. To the average person, they appear pretty but mundane; to someone who notices their hidden magic, they’re cosmic and one-of-a-kind. Since their beloved 2016 self-titled debut, the Boston group — made up of vocalist and guitarist Dimitri Giannopoulos, bassist John Margaris, and drummer James Doran — has been a reliable source of enchanting, idiosyncratic slowcore that’s distorted enough to be considered shoegaze. In the past few years, they’ve remained unstoppable; 2022 saw the release of their third studio album Natural Part, 2023 had the mini-album Heartbreak Rules, and now another album titled Disaster Trick is on its way.

Jeff Rosenstock never seems to stop moving. I don’t mean that he’s fidgety or distractable. In fact, he’s overwhelmingly present when you speak to him. He never gets sidetracked or checks his phone. He’s sincerely nice; the word undersells how welcoming his presence is, but it’s the right word.

Every artist has a set of recurring tropes, and for ML Buch it’s a few very specific images: a body falling apart then coming back together again; light bouncing from a reflective surface (particularly glints of sun on the sea). They are regular fixtures across her work, and possibly always will be. “It’s nice to have these eternally, some elements or props or fragments that keep being relevant to me,” she told me recently at a Cuban café in Los Angeles, though she has “no interest in understanding” why she keeps gravitating towards them. It’s been 10 months since she released Suntub, her masterpiece, and she has no interest in understanding that either. “I was singing about the ‘film of sky’, whatever that is,” she said.

Ben Seretan can’t just go around calling Allora his “insane Italy record” without elaborating on both the “insane” and “Italy” part. “It’s kind of a long story,” he sighs – not the “it’s kind of a long story” used as a deflection when the teller knows both they and the listener will be bored out of their minds if recall lasts more than 15 seconds. The earliest iteration of Allora’s electrifying krautrock freakout “New Air” dates back to 2012, when Seretan was just one of many “DIY idiots living in Bushwick” trying to make the scene at 285 Kent and Glasslands. In the time since, there has been unexpected indie fame in the Alpine region of Europe, scammy booking agents, life-altering breakups, devastating deaths, 24-hour ambient albums, a rousing breakthrough released into the gaping maw of early COVID, demolition derbies, dairy farm drag parties, outdoor raves and naked barn dances. Fittingly enough, the story ends in a place called Climax, New York.

When we last heard from Peel Dream Magazine, Joe Stevens had basically soft rebooted the project. During the group’s New York years, Peel Dream had been Stevens’ vehicle for exploring a host of moodier psychedelic traditions, from krautrock to shoegaze. During the pandemic, he decamped to Los Angeles, and in 2022 he re-emerged with Pad — a concept album about him getting kicked out of his own band, now set to jazz- and country-tinged baroque-pop fixated on ’60s harmonies and Beach Boys melodies. Now, another two years down the road, Stevens is set to return with Rose Main Reading Room. It’s his first release for Topshelf Records, and, once more, it’s a whole new Peel Dream Magazine.

Solid Sound is not like other festivals. It’s at an art museum: the Massachusetts Museum of Contemporary Art, in North Adams, MA. It’s relatively small, with a capacity of about 8,000 people per day. And it’s entirely centered around Wilco – not just as the headliners, but as hosts and curators. It’s a festival as a sonic dinner party, with the band giving its fans not just its own music but other artists its members want to share with everyone. This year that includes Jason Isbell And The 400 Unit as the second headliner, as well as such bands as Dry Cleaning, Nick Lowe and Los Straitjackets, Ratboys, Iris Dement and Water From Your Eyes.

Water From Your Eyes look fried. Anyone who has been on tour knows this moment: Outfits become an array of whatever is vaguely clean, the van somehow looks increasingly like one of those old “battle-damaged” action figures, and time becomes both more tangible and completely meaningless, as your life is scheduled down to the minute but every day and every city bleed into one another. This is more or less the state I find Rachel Brown and Nate Amos in when we meet on a corner in Salt Lake City, on a bright Sunday following some long festival nights. By the end of our conversation I’ll ask them if we missed anything. Brown will drawl a joking reply: “If I said anything stupid I’d rather have it reflect on my lack of sleep than my intelligence.”

It’s not uncommon for musicians to use something — beers, booze, drug binges — to take the edge off before a performance. Those vices are well and good for Couch Slut’s Megan Osztrosits, but she prefers the all-encompassing numbness that only self-inflicted head trauma can provide. For her, this usually takes the form of repeatedly bashing herself in the skull with her microphone until blood drips down her face. “From the first note, I’m blacking out and going somewhere else,” she explained during our conversation at Roadburn, an annual festival celebrating heavy music in Tilburg, a Dutch city best known for its university and a beautifully weird Brothers Grimm-based amusement park. “It’s out of body.”

“Never knew a different life/ Because no one was there to show her,” rapped North Carolina’s Rapsody with real purpose on the underrated 2012 song “In The Town.”

For someone renowned for delivering raps in a crackly purr, it feels kind of strange to hear Hempstead, Long Island’s Roc Marciano even slightly raise his voice.

Jane Schoenbrun has stated they wanted their new film I Saw The TV Glow, which gets a wide release May 17 through A24, to feel like the “memory of television.” Most literally, this refers to how a millennial might remember something like Buffy The Vampire Slayer 20 or 30 years later, but it’s tempting to see the statement in a more abstract way: if television was actually remembering things, if the life-force looming behind the screen in a film like Poltergeist or Videodrome developed a nostalgic streak and a sense of poetry.

With her deep knowledge of history and literature, combined with her vulnerable, evocative lyrics, Myriam Gendron has the power to open emotional portals. There is something intangible about the sound of her voice, the phrasing of her words, and the chords she chooses that unlocks something within me, like few other musicians can.

I’ve long thought that Jessica Pratt’s music is the closest we’ll get to hearing what sound was like when we were inside our mothers’ stomachs. Cooing, bubbling, gleaming: Hers is the music of the intrauterine. Pratt plays as though she’s house-training sound itself, singing somewhere in the phonic region where meaning delays itself. Untethered highs and skidding lows, it must have been what the world sounded like in utero.

Since their 2017 inception, it feels like the Bay Area’s AG Club have been through eons of trials and errors. The sprawling collective is spearheaded by the de facto leaders Jody Fontaine and Baby Boy and their videographers Manny Madrigal and Ivan Collaco. Everyone else caught in the colorful crossfire could become a member of the Club as well, as evident in the sprawling network of designers, collaborators, and friends that make up their growing universe.

What does faith sound like? How about respect, or trust? There Is A Garden, the new semi-improvised album from Brooklyn-based experimental supergroup Beings, answers these questions with scarcely a word spoken across its nine songs. Listen to the beginning of “Happy To Be,” one of two songs from the album released today, and hear percussionist Jim White find his footing in real time alongside saxophonist Zoh Amba: the crackling croon of her horn finds a gentle melody against which White builds his thundering drums. Then, Steve Gunn enters the scene, his reverating guitar adding texture as much as rhythm, freeing Amba to further explore the range of her instrument, introducing motifs that will appear, almost as if by magic, later in the song. Bassist, keyboardist, and producer Shahzad Ismaily, the musical polymath who has performed with everyone from Marc Ribot to Yoko Ono, is ineffably present in the delicate, almost imperceptible glimmer of a synth that undergirds the song and unites its disparate elements.

Brooklyn art-rockers Yeasayer have been broken up for nearly a half-decade now, and the band’s former members continue to branch out in its wake. Back in 2022, co-lead vocalist Anand Wilder released his first proper solo album under his own name, I Don’t Know My Words, and today his former co-frontman Chris Keating steps forth with his debut solo single, “Way I Know How.”

Last year, Guided By Voices celebrated their 40th anniversary as a band in a way many other groups might have: by playing two triumphant hometown shows opened by an array of beloved peers and disciples. They also marked their 40th year in a way not many other bands would ever attempt: by releasing three new full-length albums within the span of about 10 months. Such uncommonly prolific output has always been standard operating procedure for Robert Pollard and his band, and four decades in, they’re still going strong.

In 2022, Shabaka Hutchings began the process of unwinding an extraordinarily exciting career that he’d spent more than a decade building. As the leader of Sons Of Kemet and The Comet Is Coming, as well as Shabaka And The Ancestors, he’d laid revolutionary poetry from Joshua Idehen, Kae Tempest, and others atop pounding acoustic and electronic grooves that borrowed from techno, Caribbean parade music, and more. He’d toured the world, slowly climbing from small clubs to massive festival stages, his high-energy saxophone style cutting through like a siren as the drums pounded.

It’s understandable if, in the fire hose of media attention paid last Friday to a certain superstar’s yee-haw turn, some less mainstream drops didn’t register on every radar. But in a very different, angstier, and frankly more XY-chromosome-dominated corner of the music universe, fans of the underground hip-hop collective Haunted Mound were tuned into the release of Bloody Angel, the latest project from the group’s fearless founder, leader, and provocateur, Sematary.

Since their formation in 2019, Scowl have been known for many things: a crazy show at a Sonic drive-thru, Post Malone donning their t-shirts, a Taco Bell ad campaign, a slot opening for Limp Bizkit, and the subsequent industry plant accusations. All of this talk, though, is nothing compared to the Santa Cruz band’s music. After two rowdy EPs, they shared their 2021 debut full-length How Flowers Grow, a visceral blast of vicious, rambunctious hardcore. Last year’s Psychic Dance Routine EP raised the volume even louder while also experimenting with poppier, more cinematic sounds. They have the energy, the attitude, and the infectiousness to justify all the noise surrounding it.

The best way to consume Claire Rousay’s discography is to dive into the dozens of one-offs, collaborations, and subscriber exclusives on her Bandcamp. There, you’ll find a treasure trove of irreverent and deeply personal music, from the unsparing text-to-speech self-interrogation “I’m not a bad person but…” to the iPhone sound-effect improvisation “swipe” to a three-minute recording of leaf blowers. Rousay’s music is candid about life in the digital age, and her release strategy could not exist at any other time; Bandcamp gives the LA-via-Texas artist the freedom to release low-stakes experiments with as much or as little ornamentation as she wants. And if you’re worried her recent signing to the vaunted Chicago label Thrill Jockey will slow this diaristic torrent of music, you can be assured the floodgates are not closing anytime soon.

“I’m really happy right now,” Domenic Palermo says, his voice quivering with joy. “I feel like I’m doing the right thing for once, and that’s not a normal thing for me.”

“Buffalo was a thriving community where you could lead a nice little middle-class life,” recalls Westside Gunn (real name Alvin Lamar Worthy), the city’s most influential living rap entrepreneur. “But once the crack era hit it fucked up everything, including my mother. Remember, I’m no spring chicken. I’ve seen it all!”