In June 2015, the Brooklyn band EZTV put out their debut album Calling Out. Eschewing the long wait times in between albums that characterize the modern era, they have followed it a year later with their sophomore albumHigh in Place.

Bon Iver‘s (aka Justin Vernon) debut album, For Emma, Forever Ago, was unarguably one of the best records of 2007. It’s somewhat surprising to think, then, that in the nine years since, Bon Iver has only released one other studio album (2011’s Bon Iver, Bon Iver)—until now.

British/American dream-pop act Still Corners should take a page out of S U R V I V E’s book (as with Netflix’s Stranger Things) and do the musical score for a dark ‘80s-indebted series.

M.I.A.‘s fifth, and perhaps last studio album is yet another titled after a name, flipped this time into an anagram with implication.

Where do we even begin with Pixies? We know they laid the groundwork for every important grunge and alternative band who succeeded them, while they also notoriously called it quits after just a few years and four nearly-flawless albums.

For die-hard fans, it has been four long years since the release of What We Saw from the Cheap Seats, Regina Spektor‘s sixth and most recent studio album. (Catchy as her intro to Orange is the New Black might be, it just doesn’t fill the void that a new album from the Soviet-born singer/songwriter does.)

Over the course of four albums, 25-year-old Lydia Loveless has undergone a metamorphosis. Her latest, Real, sounds like Loveless has found herself, somewhere between traditional country and ‘70s pop rock.

Jenn Wasner is best known as the frontwoman of Baltimore indie-rock duo Wye Oak, but over the last few years, she’s demonstrated a tendency to transcend genre and other limitations.

Following quickly on the heels of several EPs and last year’s excellent debut LP, The Things We Do to Find People Who Think Like Us, Beach Slang has quickly released the follow-up less than a year later.