12 August 2026
Here's how it works: The Recent Releases chart brings together critical reaction to new albums from more than 50 sources worldwide. It's updated daily. Albums qualify with 5 reviews, and drop out after 6 weeks into the longer timespan charts.
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Fifth studio album of indie rock from the Kansas City five-piece and first since they reformed in 2008
5.6
Represents experimentation and growth from a talented, maturing band, and it’s a worthy addition to the music collection of any ardent emo fan Read Review
Listeners who dismissed the Kids in the past as overwrought emo drivel might actually find things to like this time around Read Review
Revisits the raw, yet melodic sound of their classic debut, liberally sprinkled with gorgeous vocal harmonies and pop hooks Read Review
By breaking the rules of what they were supposed to sound like, they've given themselves a second bite of the cherry Read Review
For once this is a re-union not just trading on old glories Read Review
A plethora of bittersweet singalong choruses as well as the odd curve-ball, like the synth-and-phaser heavy Automatic Read Review
Back at their corrosive best. Print edition only
An inherently youthful band gracefully making good into their thirties. Print edition only
The truly surprising moments come via electronic flourishes that show up throughout the record Read Review
A just-all-right record from a band that always felt a step behind even in their own genre Read Review
It’s hard to truly love an album that tries this hard Read Review
Matthew Pryor's bellowing sneer still cuts, but nothing can cover up the hookless, by-the-numbers weakness of the materia Read Review
They've neglected to include anything memorable on it. Print edition only
Knowing what this band is capable of, its hard to shake the sad feeling that perhaps they should have just stayed broken up Read Review
Sounds like the product of a band that knows well where it’s been, but can’t quite figure out yet where it wants to go Read Review
There Are Rules aims for an aggressive aesthetic, but it ends up as mostly empty bluster as the Get Up Kids tries to put their pieces back together Read Review
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The Get Up Kids: There Are Rules
John Carpenter Cathedral
Carpenter has always excelled at the “less is more” approach to music, but it is here in Cathedral that this discipline is used to build something claustrophobic and heavy. It’s not just music that follows the listener; it surrounds them Spill Magazine
John Carpenter’s Cathedral is fantastic listening, mixing what listeners likely love about the horror director’s scores with new sounds. When blending the soundtrack with the graphic novel, it’s a less satisfying experience, though still worth it for Carpenter fans Spectrum Culture
While an intriguing narrative idea that longtime fans will lap up, John Carpenter’s “heavy metal” exercise with his trusty son and godson band can just never shake off a tacky air that robs the album of its Gothic dread or evocative transport Far Out
The closest thing to a heavy metal album the horror master has made sports all his hallmarks – depth, gravitas, riffs that could power an substation, and a strong sense of gathering tension musicOMH
Its still one of the most exhilarating things Carpenter has released. It’s up there with ‘Halloween’, ‘They Live’ ‘Ghosts of Mars’, and ‘The Thing’. Sit down and strap in as the Master of Horror has a journey for you! Clash
If not quite vintage Carpenter, his trademarks - unsettling repeated refrains ("Redemption"), moody bass lines ("Primeval") and dramatic key changes ("Back To Ruins") - extol an unceasing gift for evoking creeping dread. Print edition only Mojo
Some of their tonal subtleties have been sacrificed in the process, but there's no denying the dramatic punch of pieces like "The Ferryman" and the semi-operatic "Elevator Two". Print edition only Uncut
"Lord Of The Underground" is Metallica-grade dirge-rock, while the rolling rhythms of "Revenge" and low-end synths of "Resolution" provide fittingly ballistic, moody climaxes to an auteur-grade album if devilish delights. Print edition only Record Collector
There are some beautiful moments with a vaguely Kusturica-esque sound, some great crunchy Motörhead-esque speed metal riffs, and pieces where you can just imagine people being chased down grungy tunnels by demonic creatures – even if you haven’t read the graphic novel The Quietus
The Durutti Column Renascent
It is yet another brilliant presentation of a master who never got the full recognition he always deserved Beats Per Minute
FLO Therapy At The Club
There are four or five songs here better than anything on their debut. There are also four or five that a firmer hand would have cut, which would have left something leaner, stranger and harder to ignore Beats Per Minute
Overmono Pure Devotion
An album of entirely “Paradise Runner” clones could have done more damage than good. Yet the sense remains that reserves exist, that these songs of Devotion are the end of the beginning Beats Per Minute
Arca XXXXX
XXXXX never feels cluttered. At 47 minutes, it fits comfortably on a single disc, while each individual element blends into the larger flow effortlessly Beats Per Minute
Phoebe Bridgers Lost Weekend
Co-produced alongside Jack Antonoff and Alex G, the singer-songwriter’s first solo album in six years details falling in love, reckoning with grief, and starting over. It’s her most daring, optimistic record yet Paste Magazine
Where Punisher felt apocalyptic with its closing suite "I Know the End" and a hearty dose of divine timing, Lost Weekend is a transmission from a hero's journey back to herself through a dystopian emotional landscape Exclaim
Since we've been around, that is. So, the highest-rated albums from the past twelve years or so. Rankings are calculated to two decimal places.
Kendrick Lamar To Pimp A Butterfly
Fiona Apple Fetch The Bolt Cutters
Rosalía Lux
Kendrick Lamar Damn.
D'Angelo And The Vanguard Black Messiah
Nick Cave And The Bad Seeds Ghosteen
Spiritbox Tsunami Sea
Self Esteem Prioritise Pleasure
Hayley Williams Ego Death At A Bachelorette Party