New Album Release Round-Up: August 2026
This month’s round-up features brief reviews of new albums from Julia Holter, Getdown Services, Sweeping Promises, Kiwi Jr., Alabama Shakes and more.
This page collects collaborative articles by the No Ripcord team and articles by former contributors, who do not have an active author page.
This month’s round-up features brief reviews of new albums from Julia Holter, Getdown Services, Sweeping Promises, Kiwi Jr., Alabama Shakes and more.
On their ninth studio album, the heavy metal band hints at intriguing new directions for their collective sound.
As Sleep’s Al Cisneros attempts to sell fans on a new album without guitarist and founding member Matt Pike, the resultant Hempispheres showcases the strengths of the band’s new personnel while finding a new strain to roll up and burn.
This month’s round-up features brief reviews of new albums from Nia Archives, Shannon Lay, Ultra Lights, Shearwater, Twisted Teens, and more.
This month’s round-up features brief reviews of new albums from Pearl & The Oysters, Tierra Whack, SLIFT, YHWH Nailgun, Bedouine, and more.
This month’s round-up features our thoughts of new albums from American Football, Cola, Kurt Vile, The Bug Club, and Mad Honey.
Our April Round-Up offers another series of quick takes on eight overlooked new records, including Lime Garden’s breakthrough, Metric’s comeback, and fresh releases from Failure, Yaya Bey, and Deary.
Our monthly Round-Up returns with honest takes on eight new records, from Robyn’s comeback and Snail Mail’s uneven but rewarding third album to fresh releases from Shabaka, The New Pornographers, Courtney Barnett, and Bonnie “Prince” Billy.
Our monthly Round-Up returns with sharp verdicts on nine new records, including Heavenly’s comeback, a new solo album from Big Thief’s Buck Meek, and the revival of Crooked Fingers, plus releases from Ulrika Spacek, Lucid Express, and Voka Gentle.
Here are some quick takes on the January album releases we didn’t get around to covering in full. Featuring Jenny On Holiday, Megadeath, The Cribs, Westside Cowboy, and more.
SUMAC, the post-metal improv behemoth, teams up with Moor Mother on a collaboration that just makes sense.
Aerial M’s The Peel Sessions is a lasting record of a fleeting moment in Pajo’s history that we’re thankful to finally hear.
St. Vincent’s seventh album is a welcome return to form.
On the evidence of BRAT, it’s also justified to say that, right now, Charli XCX is the greatest pop star in the world.
Feeble Little Horse find their stride on their second album.
With the sixth Weyes Blood album, Natalie Mering has concocted a successor to Titanic Rising that any gambler worth their salt would have no doubt taken the under on.
Wet Leg’s hotly anticipated self-titled debut is no slapped-together producer’s vision of what the kids should like. Its authenticity is what makes it so addictive, so accessible.
To borrow a turn of phrase, Big Thief focus on, quite literally, the journey and not the destination. The result is the most compelling case in years on the potential of the journey—the insights to be gleaned, the friendships to be strengthened, your own potential waiting to be untapped.
Despite getting out their humourous side in song titles and social media, Ovlov nonetheless funnel all their passion and expertise into their exhilarating sound.
Steeped in alt-rock and new wave influences and “you can't prove this is about you" vagaries, Vu’s full-length debut is just the right balance of melodrama, defiance, and inhibition.
With Prioritise Pleasure, Rebecca Taylor has likely coined enough slogans to retire on t-shirt sales alone, but it’s also one of the most insightful pop records this year.
The immeasurable talent that hides behind Simbiatu Ajikawo’s fourth LP's nineteen tracks confirms that she’s one of the greatest artists of her generation.
Darkside’s triumphant return after an eight-year hiatus is an alchemical concoction of beats, textures, sonic flourishes, and melodies that sound like they were recorded in a world that had no precedent.
The long period leading up to this record—not to mention the time afforded for additional audio work due to the coronavirus pandemic—means Wilson has had the space to hone her sound and deliver upon the potential her earlier releases promised.
Clark’s second album with Jack Antonoff is inspired by her father’s incarceration and release from prison.
New Long Leg was constructed in pieces on a wiped-down, passed-around tape deck—the new pandemic normal. It could easily have suffered for it, but the production is masterful.
Tamara Lindeman shifts gears on her fifth album as The Weather Station.
With OK Human, Weezer deliver a specific brand of orchestral indie pop with solid results.
Four years on from the divisive Wildflower, and now almost two decades on from Since I Left You, it feels like The Avalanches have now freed themselves from any pressure at all.
Like Dylan and Townes Van Zandt before her, Adrianne Lenker is emerging as a songwriter who takes an idea and toys with it.
Considering the avant-garde associations suggested by Island’s sonics, it makes sense to weigh the lyrics according to the same, progressive metrics, allowing that the words exist not as prose narrative but as poetic abstractions standing in for more universal meanings.
Phoebe Bridgers takes a leap on her sophomore LP, Punisher.
As far as isolation projects go, how i’m feeling now ranks somewhere between King Lear and that jigsaw you haven’t yet got around to finishing.
While there are moments with more levity, Marling casts this world with a haunting backdrop of striking stories and superb instrumentation.
Tumor’s latest works on the issues of Safe in the Hands of Love, while reaching for new genres and ideas.
Soccer Mommy’s second album is equal parts buoyant, earworm riffs and gut punches.
Tunes is a monumental snapshot of the “second act” of Burial’s career, and should be on all electronic music connoisseurs’ Christmas wish lists
FKA twigs’ excellent second album confirms she now has the songs to match her magpie eye for production.
Dawson reminds us that, in spite of our own difficulties navigating the Sisyphean tasks of daily life, there’s always someone worse off.
Two Hands serves as the band’s call to arms—an unspoken dedication to not only put forth music that matters, but also a face-forward shake of the shoulders followed by a clutching embrace.
What started off as a leap of faith, then an attempt at a memoir, ended up as Howard’s album to date.
Lana Del Rey takes a giant leap forward on her sixth full-length release.
Bill Callahan’s sixth album under his own name—and 17th if you include Smog—is a deeply enriching experience.
Craig Finn’s literary fourth solo album is a refined experience.
Ventura is the fourth album from Anderson .Paak.
The sixth Helado Negro album blends intimate glimpses of life growing up in an immigrant household with the struggle of preserving familial identity and fitting in as an outsider.
The fifth album from British rock band Foals is a career high.
Remind Me Tomorrow is Sharon Van Etten’s grandest and greatest evolution yet.
No longer in isolation with their own turmoil and emotions, boygenius gives each artist more light to combat the darkness.
Julien Baker’s second album scores a perfect ten.
Protomartyr's fourth LP and first for Domino expands of their consistently impressive early work.
The 14th Flaming Lips record is a surprisingly focused, cohesive and fun effort.
The xx’s third full-length sees the trio expanding their previously minimalist sound
Pete Yorn’s sixth album earned a rave review on its release, ten years ago this week.
Charli XCX is the latest in an ever-growing list of successful, dynamic, and diverse female artists and musicians defining the current musical landscape.
St. Vincent’s fourth full-length was our #1 album of 2014.
Board of Canada maintained their high standards on 2013’s long-awaited Tomorrow’s Harvest, their fourth full-length album.
On her debut album, Charli XCX proves that radio-friendly pop doesn’t equal formulaic.
The Flaming Lips’ thirteenth album is a bleak affair.
In celebration of the release of Iceage’s new single “Star,” we revisit our reviews of the Danish band’s first two records.
Dinosaur Jr.’s tenth album is another steady triumph.
The xx’s second album is a worthy follow-up to their Mercury Prize-winning debut.
Bloc Party’s fourth album fails to recapture the joy of their sparkling debut.
Animal Collective’s ninth album is a diverse affair.
Strange Mercy is St. Vincent’s most sonically rich effort to date.
Mastodon’s fifth album expands their repertoire and capabilities while they turn off their heads and let their fingers tell the story.
Deerhunter's second masterpiece in a row, and their most natural record, a one-two punch for the books.
Interpol’s self-titled fourth album is a bleak portrait of a band in transition.
The seventh studio album from Weezer is not a classic.
The Flaming Lips’s latest reinvention caps off another magical decade.
The nocturnal pop of The xx is impossibly unique, yet quiet and low-key at the same time.
Dinosaur Jr.’s ninth album is the band’s first for Jagjaguwar.
Grizzly Bear’s ornate Veckatimest was the second highest rated of 2009.
Annie Clark’s second album as St. Vincent is a grand performance.
Mastodon’s fourth album may be polished, but don’t call it a sell out.
The most-hyped record of Animal Collective’s career sees the experimental group trading guitars for a more sample-based approach.
Beck teams up with Danger Mouse on his eleventh studio album.
The Red Album is not as bad as you’ve heard nor as good as you might have hoped.
An EP of odds and ends from the Yellow House sessions, plus some friends covering Grizzly Bear originals.
Annie Clark’s debut oozes class—and no shortage of promise.
After a ten year hiatus, Dinosaur Jr. are back—and this time with their original line-up.
The debut album from The Twilight Sad earned a rare 10/10 rating in 2007.
Grizzly Bear’s second album sees Edward Droste transcending the work of his bedroom project.
The eleventh Flaming Lips record keeps the magic alive.
Released on 20 February 2006, the third album from Liars was an immediate classic, and arguably the best of their storied career. Here is Alan Shulman’s original review.
Twenty years ago this week everything fell into place for Neko Case on 2006’s phenomenal Fox Confessor Brings The Flood.
Boards of Canada show no sign of standing still on their phenomenal third album.
The great achievement of Feels is that it throws everything at every track yet never loses sight of the tunes themselves.
Love as Laughter’s classic 2005 release earned a perfect ten rating in 2005. Alan Shulman explains why.
On this EP the folksy, acoustic sounds of AC are perfectly matched to the vocals of the long-lost folk goddess, Vashti Bunyan.
Beck’s ninth album sees him reuniting with the Dust Brothers, who worked on Odelay.
Bloc Party’s stellar debut announces a new talent.
The masked supervillain serves up a feast of kooky couplets, subtle trash talk, and distinct beats ladled with scores of sci-fi and cartoon samples.
FatCat’s two-CD retrospective compiles Animal Collective’s first two records.
Beck’s eighth album is the perfect antidote to the bloated Midnite Vultures.
The Flaming Lips strike gold again on the joyous Yoshimi Battles The Pink Robots.
New Order’s first full-length since 1993’s Republic is a pleasant surprise.
Our monthly preview looks ahead to new records from Greg Freeman, Dawn Richard, DIIV, Queens of the Stone Age, Wishy, and more.
Our monthly preview looks ahead to new records from Protomartyr, This Is Lorelei, Arab Strap, The Tubs, Slow Pulp, and more.
Bewilderbeast scooped the 2000 Mercury Prize and launched the career of Damon Gough. But how does it stand up today?
Things are warming up nicely. The challenge this month was keeping our preview down to ten picks. New records from Kiwi Jr., Interpol, Westside Cowboy, and Weezer feature.
July’s already thin release schedule is dominated by big pop releases. We’ve picked out the highlights.
Death Cab For Cutie’s eleventh studio album, I Built You a Tower, is out now. To celebrate the landmark, we are revisiting a classic early interview with the band from the No Ripcord archive.
Our regular preview rounds up ten of the most hotly anticipated records from the month ahead, including new releases from Vince Staples, Death Cab For Cutie, Olivia Rodrigo, Modest Mouse, and more.
In 2009, No Ripcord caught up with Jody Stephens and Andy Hummel to discuss the legacy of Big Star—popular music’s greatest cult band.
Our regular preview rounds up ten of the most hotly anticipated records from the month ahead, including new releases from Broken Social Scene, Weird Nightmare, The Field, Iceage, and more.
Miracle Legion’s The Backyard EP is a cult classic from the ’80s college rock scene.
In our regular preview, we look at the month ahead and new releases from Friko, Prism Shores, Sunn O))), and Foo Fighters.
In early 2004, French duo M83 were still coming to terms with the unexpected success of their breakout album, Dead Cities, Red Seas & Lost Ghosts. Our interview from that time captures a modest band at the precise moment when everything around them is changing.
In 2004, No Ripcord scored a rare interview with MF DOOM—and, by sheer accident, became the first publication to hear MM..FOOD after his manager mistakenly sent over an advance copy. Republished from the archive, this is DOOM at a pivotal creative peak.
Memorably described as “the band Joy Division could have been,” Sheffield’s Comsat Angels remain the city’s best kept secret. Our 2009 interview captures the band’s mindset at the time of their brief comeback.
February ended with a bang, and March promises to keep the momentum going with a slate of top-tier releases. We’ve picked out ten highlights you won’t want to miss.
Released in 2003, The Meadowlands is regarded as an indie rock classic. But how does the final album by New Jersey’s most famously unreliable band stand up today?
Things look set to warm up in February. The stacked release calendar features big hitters, hyped debutants, and hotly anticipated comebacks. We select our ten highlights.
Legendary Big Star singer/guitarist Chris Bell would have turned 75-years-old today. In his honour, we are delighted to share this wonderful 2022 article by Weston Cutter—one of the finest pieces of long-form writing we’ve ever published.
We are excited to reveal our Best 50 Albums of 2025, continuing an annual No Ripcord tradition that dates back to 2002. Dig in, enjoy the picks, get unnecessarily worked up about the omissions, and share widely!
These twenty albums may have narrowly missed our Top 50, but they're simply too good to go unrecognised. Our Bubbling Under feature gives them the spotlight they deserve.
This is it! It’s time to reveal our top albums of 2024. A longstanding tradition since 2002, our full list consists of 50 albums selected by the entire No Ripcord staff.
This 2023 end of year list features our favourite 50 albums of the year, as selected by the entire No Ripcord team.
We have reclaimed our Best Albums of 2022 feature from the archive so you can enjoy it here. Dive in and reacquaint yourself with some recent classics.
We have reclaimed our Best Albums of 2021 feature from the archive so you can enjoy it here. Check it out and rediscover some old favourites.
2020 was a tumultuous and traumatic year for many of us. Our best fifty albums list celebrates the best releases of the pandemic year, including heavyweight hits from Fiona Apple, Phoebe Bridgers, Run The Jewels, and more.
The 2010s signed off in style with a strong year of releases. Its best fifty albums are highlighted here, in our traditional end of year list.
Our best fifty albums of 2018 list celebrates the finest releases of the year, including modern classics from U.S. Girls, Iceage, SOPHIE, and Mitski.
Our best fifty albums of 2017 list celebrates the finest releases of the year, including modern classics from Lorde, Kendrick Lamar, St Vincent, and Protomartyr.
In anticipation of our upcoming End of Year coverage, we take a look back at what we were raving about twenty years ago. Let the nostalgia commence!
Our 2004 albums list captures a golden year for indie rock. Revisit the records that defined No Ripcord’s listening back then—and see which ones still hold up more than twenty years later.
Our 2003 albums list captures a year when indie rock was flourishing, pop was sharpening its edges, and tastes were starting to broaden. Revisit the records that defined No Ripcord’s listening back then—and see which ones still hold their ground two decades later.
Our very first end of year feature came in 2002, when we rounded up our top 50 albums of the year—a tradition we’ve maintained ever since.