Jack White, Bloc Party, and the return of Girl Talk (plus 21 more albums coming in April)

April showers us with a bevy of great new releases this year. There’s the return of long-running indie artists like Bloc Party, resurgent records from throwback maestros like Father John Misty, metal-as-fuck offerings from the likes of Meshuggah, and Scrunchies carrying on the mantel of riot grrrls in the best possible way; in other words, something for everyone. Hopefully, you’ll find something here you didn’t know was coming—or better yet, discover a great new artist you never even knew existed. Note to desktop users: If you’d like to read this in a scrolling format (and why wouldn’t you?), simply narrow your browser window.

It’s been six long years since Meshuggah’s last album, 2016’s The Violent Sleep Of Reason (and more than a decade since The A.V. Club ), but from the first moments of single “The Abysmal Eye,” it feels as though no time at all has passed. Maybe that’s because—as testified by the title of the new album—the Swedish masters of polyrhythmic punishment have no interest in breaking their mold of genre-defining math-metal. And why should they? They helped invent it, for god’s (or satan’s) sake. And with their ninth album, Meshuggah sounds just as inspired as ever, ready to create ever more complex arrangements and hooks, followed swiftly by beating them into submission. [Alex McLevy]

At this point, it’s clear that PUP couldn’t sound like anything but, well, PUP. Almost exactly three years after the release of the excellent , the Canadian four-piece returns with an ambitious new album that greatly expands its sonic palette, while losing none of the all-systems-go intensity that defines the group’s sound. Recorded largely in isolation over five weeks last year, THE UNRAVELING OF PUPTHEBAND incorporates piano, synths, horns, and more into a collection of songs that blends the band’s usual fuck-it manifestoes with the world’s steep emotional nosedive over the past two years. If any band was ready to release the sound of pandemic-borne frustration, it’s PUP. [Alex McLevy]

We back when “No Home Planet,” the first single off of Scrunchies’ upcoming sophomore album Feral Coast, was released, but there are always new bands getting tagged with the “carrying on the Bikini Kill tradition” label who often don’t sound much like that landmark group. Scrunchies, on the other hand, embrace that sound and aesthetic, and then evolve it into exciting new places, maintaining fidelity to a classic sound without being beholden to it. Packing riot grrrl punk, sneering garage rock, and pummeling post-punk grooves into a singular package without skimping on earworm hooks is a rarer feat than is sometimes acknowledged—but it sounds like Scrunchies may have pulled it off. [Alex McLevy]

Although Envy Of None is the new project of Rush guitarist Alex Lifeson and Andy Curran of Canadian rockers Coney Hatch, the band’s electro-tinted rock bears little to no resemblance to anything in either musician’s back catalog. With Portland-based vocalist Maiah Wynne at the helm, Envy Of None’s self-titled album feels like a throwback to ’90s industrial rock. Wynne boasts a sinewy, evocative voice, especially on atmosphere-heavy songs such as “Liar.” [Annie Zaleski]

There’s a cinematic swell to “Funny Girl,” the lead single from Chloe And The Next 20th Century, the new album from Josh Tillman, a.k.a. Father John Misty. The retro blend of swooning strings, brass, and more makes the orchestral pop ring out with a brightness that didn’t show up much on 2018’s . His Elton John-meets-Warren Zevon vibe is still in effect, but with a sweeter, more throwback swing to the material—a strong indication that the old-school pop artist found his muse, took it out for a night on the town in 1978, and possibly made sweet love to it. That’s a good thing, we think. [Alex McLevy]

Talk about inspired supergroups: In the last few years, mashup king Gregg Gillis (a.k.a. Girl Talk) had started working on music with rappers Wiz Khalifa, Big K.R.I.T., and Smoke DZA. Instead of releasing the music on its own as individual projects, these collaborations became the full-length Full Court Press. Going by the throwback, ’70s soul sound of lead single “Put You On,” expect music that transcends eras and genres. [Annie Zaleski]

Jack White is dropping not one, but two new solo albums over the course of the next couple of months. The first of these, Fear Of The Dawn, arrives on the heels of a few singles that all share a DNA of industrial glam blues, which may be an odd confluence of styles, but certainly seems apt, based on the sound generated by tracks like “Taking Me Back” and “Fear Of The Dawn.” This may turn out to be an scenario, but either way, we’re curious to hear what he’s been up to. [Alex McLevy]

John Vanderslice rose to prominence in the ’00s on the strength of thoughtful, irreverent indie rock. His new project ORANGEPURPLEBEACH is a departure—the music isn’t guitar-based, it revolves around hiccuping keyboards and twitching electronic beats—but retains Vanderslice’s adventurous spirit and vulnerable lyrics. ORANGEPURPLEBEACH’s debut album, d E A T h~b U g, particularly shines on the intimate “Admin Reveal – Take Cover” and the old-school synth-pop “Dimly Lit Fuse,” both of which place Vanderslice’s keening voice at the forefront. [Annie Zaleski]

Given how much as well as the follow-up EP , it’s no surprise that The A.V. Club is eager to hear what Orville Peck is bringing for his sophomore album. Everyone’s favorite masked queer cowboy singer returns—not with a couple of singles leading up to its release, but with a series of chapters marking the sum total of the new music. Chapter 1 arrived last month, and Chapter 2 just dropped, both of which contained some superb tracks (and expanded his musical palette considerably). Here’s to the culmination of it all. [Alex McLevy]

While we’re certainly curious to see , the new oddball sci-fi action whatsit from writers-directors Daniels, we’re even more intrigued by the soundtrack. Son Lux, the brilliantly experimental electronic-soul trio responsible for , have assembled a massive 49-track collection of original music, nearly two hours’ worth of songs inspired by the film. Along with appearances by Mitski, David Byrne, Moses Sumney, and more, there are repeated guest spots from Outkast’s André Benjamin, playing… flutes. See? Told you we’re intrigued. [Alex McLevy]

The Linda Lindas enjoyed their big break in two parts last year, first with their viral anthem “Racist, Sexist Boy” and then on Netflix’s sparkling Moxie! soundtrack. Now, the four-part punk group is dropping its debut album, fittingly titled Growing Up. These Latina and Asian-American Gen-Z rockers, all between ages 11 and 17, bring an effervescent joy to their riot grrrl roots that’s even more infectious as a full album. Listening to this ten-track wonder feels like going to a sleepover at your best friend’s house. You’ll want to stay longer. [Alison Foreman]

The Regrettes explored a pop-inclined direction on 2019’s How Do You Love?, but the singles for upcoming record Further Joy show an even softer, poppier, and more danceable side. While the band’s debut album, Feel Your Feelings Fool, opened with “I Don’t Like You,” The Regrettes have changed their tune with new single “That’s What Makes Me Love You,” featuring a Gwen Stefani-reminiscent groove that has bandleader Lydia Night falling hard for her partner. But the edge from previous albums isn’t missing in the new singles: “Monday,” for example, keeps the band’s punk roots, with Night singing about an existential crisis. This gentler and joyful side to The Regrettes already feels as attention-grabbing as their previous, edgier material. [Tatiana Tenreyro]

Wet Leg became one of the U.K.’s buzziest new acts without having released a debut album. Viral hit “Chaise Lounge” quickly captivated listeners and turned them into fans in 2021, and every subsequent single has conveyed that perhaps Wet Leg is incapable of writing a song that isn’t instantly enthralling. After selling out many tour dates and making a late night debut on Late Night With Seth Meyers, anticipation for the duo’s debut has grown. It would make perfect sense if Wet Leg’s debut catapults the pair into stardom amongst the indie heavyweights. [Tatiana Tenreyro]

U.K. drill rapper Digga D might be the most successful British import in the genre at the moment. Made In The Pyrex from 2021 currently stands at around 150 million Spotify streams, his music is all over TikTok, and despite a seeming revolving door of prison stints, he has managed to keep releasing wildly successful singles at a steady clip. New mixtape Noughty By Nature looks to capitalize on that success, so get ready to hear the slow, thumping beats of tracks like “Pump 101” blasting from car speakers all summer. [Alex McLevy]

The words “experimental jazz collective” can be as much a warning as an enticement to some, but don’t be put off by it in this case. Seattle jazz group High Pulp blend old-school bebop with contemporary soul and electronica vibes, as though someone convinced the ghost of Duke Ellington to reinterpret a Chemical Brothers album. The results deliver fascinating compositions that keep the listener on their solo-happy toes. Check out the groovy breakdown two-thirds of the way through “All Roads Lead To Los Angeles”—you’ll know right away if this heady concoction is right for you. [Alex McLevy]

For someone who made his bones on the back of a signature easygoing charm, Kurt Vile certainly has a diligent work ethic. The parenthetically titled (watch my moves) marks the singer-guitarist’s ninth solo album, to say nothing of the plentiful EPs and recent work with Dinosaur Jr. If you’ve heard even a few of his tracks, you probably know whether the laconic drawl and knack for indie-Americana hooks is for you, but early singles are a good reminder of what makes his music so seemingly effortlessly affecting. [Alex McLevy]

Setting aside his other gig as guitarist for Downtown Boys, Joey La Neve DeFrancesco does something different with La Neve—specifically, an “equal parts drag show, mosh pit and rave.” The Rhode Island-based queer artist combines frenetic post-punk grooves and Atari Teenage Riot levels of blistering noise on this five-song EP, which combines thematic concerns over labor, sex, and resistance with exhortations to get up and dance while fighting the power. [Alex McLevy]

—a.k.a. Harriette Pilbeam—has consistently crafted superb dream pop songs, but the singles she’s released so far for Giving The World Away have stood out as some of her best. She introduced her new era with “Quicksand,” a track that, if it had been released by a big name pop star, would’ve been inescapable on the radio; it’s infectious in a way that leaves you wanting more. The rest of the singles are great as well: “This Enchanted” is as enchanting as its name, and “Giving The World Away” feels like a more contemporary spin on Duran Duran. If there’s ever been a time for Hatchie to blow up, Giving The World Away is the perfect opportunity. [Tatiana Tenreyro]

You can expect certain things from a Spiritualized album: dewy country-folk riffs, huge walls of harmonies, lyrical repetition wielded for emotional impact, and Jason Pierce’s somber vocals. Nevertheless, familiarity doesn’t mean the group’s latest album, Everything Was Beautiful—a de facto sequel to 2018’s —isn’t just as affecting and immersive as anything else in the band’s history. [Annie Zaleski]

What makes Tess Roby stand apart from the legions of synth-pop purveyors in the contemporary scene is the fact that, well, Roby has never sounded anything like the contemporary scene. Sounding more like the unholy love child of Peter Gabriel and Nico (albeit one who prefers simple, sweet vocal melodies and patterns), Roby’s music never settles for “ethereal” when “shooting all the damn way out into the cosmos” will do. Her music builds without bombast, and moves without unsettling, an enigmatic musical style wholly her own. [Alex McLevy]

With the return of “indie sleaze,” it’s a perfect coincidence that Bloc Party has an album coming this year. But the band doesn’t seem interested in revisiting the sound from its heyday, despite the return to a more frantic, kinetic feel. Instead, Bloc Party explores new ground, with a darker, new wave-inspired slant. It’s interesting territory, and feels more intriguing than material from the band’s recent albums. [Tatiana Tenreyro]

Miranda Lambert continually pushes country music’s boundaries, both musically and in subject matter. That’s why it’s perfectly logical that her new album, Palomino, features The B-52’s on “Music City Queen” (a song described in a press release as a “funky Deee-Lite meets Creedence Clearwater Revival in a trip down the Cumberland River”) and also includes “references” to Little Feat’s “Willin’,” Bruce Hornsby And The Range’s “Mandolin Rain,” and Emmylou Harris’ “Roses in the Snow.” No matter the influences, however, expect Palomino’s songwriting to rank among the best you’ll hear all year. [Annie Zaleski]

Sarah Beth Tomberlin is very, very good at making music that sounds like it was written just for you, the night before, in the hazy pre-dawn glow following an all-night conversation about your deepest fears and passions. All of which is to say her version of folky minimalist shoegaze is extremely potent, something which doesn’t seem to have changed on new album i don’t know who needs to hear this…. What has changed is the more ambitious instrumentation, at least compared to the sparseness of 2020’s excellent EP. But the richer arrangements haven’t diminished her powerfully affecting voice and lovely, simple strummed chords, still the heart and soul of her music. [Alex McLevy]

The offerings from Toro y Moi’s MAHAL have all gone down smooth, with grooving baselines and a chill atmosphere. Songs such as “Magazine Man” possess the psychedelic qualities of his work in Outer Peace, while the more organic sides of the instrumentals hearken to his earlier songs found on What For? With these new singles, Toro y Moi remains as dynamic and dynamite as ever. [Gabrielle Sanchez]