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.