Over the years IDLES have proven to be a surprisingly divisive band. Derided by some for their earnest lyrics, sloganeering, and self-flagellating portrayal of male angst, they’re celebrated by as many for precisely the same.

For Harm’s Way, Ducks Ltd.—the duo of Tom McGreevy and Evan Lewis—met up with a bevy of Chicago’s finest (Ratboys’ Julia Steiner and Marcus Nuccio, Finom’s Macie Stewart among many others) for a cross border recording session in the Windy City.

Back in the ’90s, Los Angeles-based slowcore pioneers Acetone made some of the finest indie rock of the entire decade, that is until singer/bassist Richie Lee’s untimely suicide in 2001.

Over the past decade or so, all of R.E.M.’s Warner Brothers era albums (which spanned from 1988’s Green to their swan song, 2011’s Collapse Into Now) have been reissued, typically in chronological order.

Madi Diaz opens Weird Faith with a question and a confession: “What the fuck do you want?/‘Cause I’ll give you all that I’ve got.” Those opening lines encapsulate Diaz’s sixth full-length album, a record that is often tender and unfussed in presentation, yet full of unsparing honesty.

Back in 2003, especially coming after Spiritualized’s dual masterpieces of 2001’s Let It Come Down and 1997’s breakthrough Ladies and Gentlemen, We Are Floating in Space, Amazing Grace felt like a bit of a letdown.

Garage-punk band SPRINTS hail from Ireland’s capital city. Spearheaded by guitarist and lead singer Karla Chubb, the Dublin quartet have well and truly screamed onto the blossoming Irish guitar scene following two earlier EPs.

By Grateful Dead’s 1977 album, Terrapin Station, the band was losing steam, but the album has enough redeeming qualities to prevent its relegation to the bargain bin and ultimately justify this spectacular sounding remastered vinyl reissue.

Eliza McLamb’s debut is a tour de force of young adult poetry, soul-baring introspection, eye opening insight, and melody-filled pop.