Anna Burch’s debut album for Polyvinyl, Quit the Curse, is heavily reminiscent of ‘90s singer-songwriter Liz Phair, both honest and confessional. The Detroit-based folkie is no stranger to the Detroit music scene, having released albums both independently and alongside Detroit bands Frontier Ruckus and Failed Flowers since 2010.

It’s not a new idea to “revisit” old material—everyone from Cheap Trick to Joni Mitchell have had a go, but normally, artists will leave a respectful distance between the new version and the old one. In the case of The Shins’ reworking of Heartworms, they’ve only given it a little less than a year.

“How is this happening?/How is this happening?/I can’t breathe/I can’t see,” sings POLIÇA vocalist Channy Leaneagh on “How Is This Happening,” the 10-minute-long lead single off the Minneapolis-based band’s collaboration with s t a r g a z e.

Appearing initially to ride the jagged crest of the filthy wave created by Fat White Family, South London’s Shame have taken a clutch of influences as sonically and geographically disparate but similar in attitude as The Fall and The Jesus Lizard and created, here on their debut, a personal ocean in which to violently splash.

Leading lights of the U.K.‘s burgeoning DIY Feminist punk scene, Brighton-based Dream Wife’s self-titled debut is a sparking pop delight laden with lashings of glamour and attitude.

What a Time to Be Alive combines the energetic catchiness of classic Superchunk with a raw punk rock that both harkens back to the band’s early days and rallies against the current political climate like the spirit of punk is meant to do.

After a four-and-a-half year break, MGMT is back with their fourth album, Little Dark Age. The duo of Andrew VanWyngarden and Ben Goldwasser, a bit downtrodden after the negative reception to the admittedly confused self-titled third album, now return to the sounds of synth-pop and ‘60s psychedelic pop with fantastic results.

Brooklyn Dead Leaf Echo’s exist in a netherworld of the past, present, and future. Their signifiers are often recognizable—classic shoegaze such as Lush, Slowdive, My Bloody Valentine, and Ride, but they bring esoteric indie-pop into their mix, with a love for the likes of Versus, Luna, and countless forgotten ‘90s bands.

The post-punk label has been following Ought since their first release and while Tim Darcy and his fellow Montréal transplants claim there was never a mindful adoption of that style, the description of their sound is hard to deny.