“I think everybody – no matter what side of the aisle you’re on – wherever we’re going to next, we're all taking a lot of exit wounds with us,” Dylan says. “Nobody is the same as they were four years ago. That, to me, is what Exit Wounds signifies… wherever you’re headed, even if it’s to a better place, you leave people and things behind, and you think about those people and those things and you carry them with you. Those are your exit wounds. And right now, we’re all swimming in them.”

Since forming in high school, Brisbane band The Goon has been celebrated for their unpretentious, kinetic homemade pop. Mirror ll, The Goon Sax's third album and first for Matador, is something else entirely: a new beginning, a multi-dimensional eclectic journey of musical craftsmanship that moves from disco to folk to no wave skronk with staggering cohesion. Gone are the first-person insecurities of their school days - they've been made expansive, more universal, more weird.

Following the release of her critically acclaimed album, Nashville-based singer-songwriter and producer Joy Oladokun unveils the "complete" installment of her album series, in defense of my own happiness. The timeless body of work eloquently exudes Joy's deep emotions and confessional leanings as a black woman living in America. This is only the start of a breakout year for the fast-rising Nigerian-American songstress.

When opening for his brother Chris’ band, Medeski Martin & Wood, Oliver was invited to sit in. Soon thereafter, The Wood Brothers were born. They’ve since gone on to release seven studio albums and earn a Grammy Award-nomination. Until 2020, Oliver had never stepped out under his own name as a solo artist. Always Smilin' is a strong opening statement from Oliver as a solo artist, and one that sets him apart as an accomplished singer and songwriter outside of his day job with The Wood Brothers.

Almost 50 years after the sessions that would make them an “accidental Texas supergroup” (Rolling Stone), The Flatlanders have returned with their first new album in more than a decade. The iconic trio serve up a rollicking collection of twang-fueled, harmony-laden performances full of wry humor and raw heartbreak. While a few songs here are never-before-heard originals, the vast majority of Treasure of Love consists of tunes the band picked up during their half-century together.

Lu's Jukebox is a six-volume series of mostly full-band performances recorded live in-studio in Nashville, TN. Each volume features a themed set of songs by other artists curated by Williams, the multi-Grammy award winner. The series aired as ticketed events in late 2020 with a portion of sales benefitting independent music venues struggling to get through the pandemic. Vol. 2: Southern Soul features a collection of classics from Ann Peebles to Al Green to Otis Redding and more.

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.