This Is Lorelei – The Singer in My Band
Nate Amos’ latest album as This Is Lorelai is a spellbinding AOTY contender.
Juan joined the No Ripcord team in 2009, became Editor-in-Chief in the mid-2010s, and basically kept the site going. He has written for a variety of music publications.
Nate Amos’ latest album as This Is Lorelai is a spellbinding AOTY contender.
The activist-minded Oklahoma City alt-metal quartet grapples with the discontents of modern life.
The veteran LA rockers crank it up like it‘s the ’90s once again—just don’t call it a return to form.
Deep into their second act, the veteran Cincinnati, Ohio rockers deliver another fiery set that aims for massive emotional payoffs.
Caught between illusion and reality, the Brooklyn artist uses her self-doubt to push her songwriting into new, undiscovered territory.
The NYC indie rockers explore dense arrangements on their introspective full-length debut, bringing their tension between smoothness and bite into sharp focus.
The snarky Leeds band once again thrive on contradictions on their third LP, sucking you in with sumptuous grooves and then spitting you out with their blistering anguish.
On her third album, the alt-R&B artist synthesises complex feelings into airy, dimly lit club anthems.
Functioning as a stripped-down trio, deftly led by multi-instrumentalist Clari Freeman-Taylor, the art rockers weave vulnerability into their sweeping sound.
Moving past the brash pop-punk of GUTS, Rodrigo‘s third LP leans into an 80s alternative pulse that matches the bittersweet feelings it evokes.
The Pacific Northwest veteran rockers attempt to make sense of mortality in their own inimitable way.
On their sixth LP, and third since reuniting in 2017, the reliable post-hardcore outfit deliver their most spirited work since their 2000s heyday.
The Danish art-punk veterans deliver their most approachable, yet distinctly odd, album to date.
The cult Derby, UK emo act returns with their first new music in 13 years and a renewed sense of purpose.
Eight albums in, the folk rock-singwriter reflects on where he’s been and leans into what lies ahead.
Led by charismatic frontperson Falle Nioke, the Margate, UK five-piece effortlessly expands their sound and vision on their debut album.
On his second LP as Weird Nightmare, the ex-METZ songwriter crafts straight-ahead power pop that is easy to get into but impossible to put down.
The veteran alt-rockers attempt to embody a punk ethos over a lean, mean 36 minutes that rarely let up.
Politics, love, and faith—three key tenets of their work—inform the Irish veterans’ two surprise EPs of 2026. Juan reflects on what they achieve, and considers how they might shape their forthcoming 15th studio album.
On their sixth LP, the Scottish veterans confront loss head-on with raw, impassioned anthems.
Elevated yet approachable, the Canadian singer/songwriter‘s Sacred Bones debut offers a powerful entry point into Cogan‘s quietly bewitching world.
Building on the spiritual foundation established in The Collective, the art-rock icon addresses current issues with directness on her third solo LP—for better or worse.
On their second LP, the Toronto four-piece weather the storms of life with joyously sticky indie pop.
Fully conscious of her indie stardom, Mitski lets her inner thoughts run free from the perspective of a recluse.
Raw, vital, and expansive, Cork-based quintet Cardinals stir up a distinctly Irish-sounding punk sound.
The LA-based alt rockers’ third collaboration with Butch Vig yields mixed results.
Making his return after eight years, Jo Hirabayashi—the creative force behind Jo Passed—retains his knack for writing knotty indie rock.
On her third LP, the Austin singer-songwriter leans further into glistening folk rock.
On their third LP, the London post-punk band draws out glimmering bits of truth from their abstract inclinations.
Returning after a 10-year absence, the lapsed singer-songwriter faces the mammoth task of proving his individuality as an artist.
The mercurial singer-songwriter’s first album of original material in nearly 20 years presents his most authentic body of work since then.
The Melbourne singer-songwriter demonstrates her natural ease and likeability as she copes with an irreparable friendship.
Over the course of a lean 35 minutes, the Melbourne indie rock band proves to be resolute in finding a path forward as themselves.
The Los Angeles quartet seem primed for an alt-rock explosion on their debut LP.
On their second LP, the Los Angeles hardcore band tries its hand at blowing up its sound in a big, big way.
The Louisville rockers aim for a more muscular, overdriven guitar sound on their fifth LP.
On her sixth LP, the Vermont-based singer-songwriter offers a sense of spiritual grounding within its intricate folk.
The South London five-piece balance accessibility and experimentation with mixed results.
The second album from Vermont’s Greg Freeman plays with an ease that belies its intricacy. Juan Edgardo Rodríguez reviews.
The young Chicago trio paves the way for the next generation of art punks on their scuzzed-up, yet tuneful major indie label debut LP. Juan Edgardo Rodríguez reviews.
Rewarding in its patience, the Scottish trio, led by Stephen McAll, sculpts haunting ambient folk that unlocks songwriter Stephen McAll’s distressing past. Juan Edgardo Rodríguez reviews.
Arab Strap’s eighth album sees the band decking their idiosyncratic brand of post-rock with a warmer, smoky sheen.
Canadian janglers Ducks Ltd. take flight on their second album.
On Everything Harmony, the Lemon Twigs transcend their classic rock influences by sounding very of its time and timeless all at once.
Wednesday’s fifth album finds them capturing everyday minutiae through the barren landscapes of rural America.
Praise a Lord... sees Tumor achieving the difficult task of remaining as perplexing as ever while forging a more inviting sound.
On the majestic Norm, Andy Shauf brings a rich musical gravitas that augments the mystery of his chosen subject.
The Dublin quintet’s second album is a giant leap forward.
The folk-leaning singer-songwriter’s stunning eighth LP couldn’t be a more perfect introduction for those unfamiliar with her work.
Aided by a number of likeminded producers to help fulfil her vision, Parks comes across as an open book, delivering a lushly atmospheric portrayal of a woman who takes pleasure in living in the moment.
The searing third album by the Swedish post-punk renegades is a manifesto on stupidity, taking their depraved, ideologically-charged satire into more sonically adventurous territory.
On his ninth LP, Jason Pierce continues to poke a little fun at his own expense, alluding to being in a state of perpetual medical dependence while revelling in the joy of being human.
Nilüfer Yanya draws strength from her emotional resilience on PAINLESS.
Lucifer on the Sofa could be considered a more straight-ahead, minimalist affair. That said, it also retains Spoon's ability to reshape classic rock sounds and colour outside the lines.
Let Me Do One More is a powerful declaration coming from a pop savant who is upping her songwriting chops behind deceptively simple songwriting.
Wild Pink’s third LP of heartland rock finds the NYC band mastering their sound.
Bob Dylan recaptures the magic on his 39th studio album.
Deep Down Happy moves along with such exuberant energy that we can’t help but feel amused and entertained.
Memory poignantly conveys how time has caught up with the Vivian Girls. It may look into the past, but the trio are not the same anymore both creatively and personally.
Alex G’s ninth album is a multi-layered delight.
Titanic Rising is Natalie Mering’s fifth album as Weyes Blood.
Deerhunter’s eighth album fines them on excellent form.
Dinosaur Jr.'s solid post-reformation run continues with album number eleven.
Car Seat Headrest’s Will Toledo makes a significant breakthrough on Teens of Denial.
Weezer’s tenth studio album finally justifies the grossly overused “return to form” tag.
The Collective’s tenth album is another patchy reminder of how far they’ve slipped.
David Bowie’s final album, Blackstar, was released just two days before his death.
Are You Alone is the fourth and final studio album from Canadian duo Majical Cloudz.
Interpol’s fifth album isn’t a rekindling of old fires, more so a chilled, mutual acceptance from a band that is letting things roll as smoothly as can be
Deerhunter's sixth album is their most imposing and courageous release to date.
The fourth studio album from Fiona Apple is a thoughtful fusion of high art and adult contemporary.
The stellar debut from Copenhagen’s Iceage balances the rhythmic tension of Postcard Records with the snotty viciousness of late 70s California hardcore punk.
In Let England Shake, Harvey adjusts her helmet and belts her soldier’s rifle to her hip—instead of stories from the sea, she reflects upon the consequences of being a military man in the trenches.
Weezer’s eighth studio album is plagued by all of the band’s now familiar problems.
Of all the modern rock discographies to rank, Weezer’s is probably the trickiest. When a band divides opinion this sharply—even within their own fanbase—you know consensus is out of the question. And yet here we are, ranking Weezer’s fifteen studio albums regardless.
In 2010, influential cult band Black Tambourine were experiencing a surge of momentum. Our interview captures the mood of this period, as we explore their lasting legacy and efforts to share their music more broadly, hoping to break their best-kept secret status.
With the release of their self-titled 10th album, Juan reflects on the cult Scottish rockers' career.