The band will be releasing their debut full-length, simply titled II, on May 23 via Salinas Records. “White Flags” is the first song to be released from the upcoming album. It’s a short but sweet glimpse into what’s in store for Distants.

Thanks for Coming’s releases have punctuated life with a diaristic approach, like songwriting in real time, but their latest album is nothing short of deliberate, release schedule and all. Today we’re thrilled to premiere You’re Welcome, the first of four parts from the ultra-meta No Problem.

As one of the more gifted songwriters I’ve known, these songs are genuine punk gold, a set of three tracks that are so rich with hooks and memorable moments that they can wind and twist structures without losing an ounce of pop accessibility.

On “Stainer,” the first single from their upcoming sophomore LP Bend, Connecticut’s up and coming purveyors of sludgy goodness in Crag Mask deliver a compact dirge that makes good on the promise of their debut.

While the quartet may be far from their label’s home base in Boston, their dream-pop sound and radiantly fuzzy introspection fits right in with newfound East Coast family. The band’s press release draws comparisons to Alvvays and The Pains of Being Pure at Heart, and neither of those are too far of the mark.

The slow wind into dusty futurism and sharpened post-punk rattles and drifts, a song that feels anxious and riddled with nervous spiteful energy. It’s a song about dissolution, the hook a warning shot of being “put down, put out, kicked down, and kicked out.”

Boston trio Fucko are set to release their sophomore album Social Climber in May, the long awaited follow up to 2016’s Dealing With The Weird. Due out via Midnight Werewolf Records, the band’s seething grunge sound pushes through sludge and walls of distortion to reveal some of the band’s biggest hooks and catchiest songwriting.

Mr. Husband’s brand of mellow, lo-fi, pop rock won’t simply go in one ear and out the other. There’s a memorable quality to the group, as their music riddles itself with a fantastic combination of thoughtfulness and humor.

Opening with a raw yet jangly guitar line and an off centered rhythmic groove, everything that Squitch have been working toward is getting tighter, even as it gets further discordant. Em Spooner’s lyrics feel agitated while still reserved as they sing pointedly about being stuck in a rut.

Don’t let the quaint vibe of the “Blessed” video fool you, Tunic is all abrasive and blistering fury. The trio released their full length debut, Complexion, back in February via Self Sabotage Records and they’ve been touring in support of it ever since,

Wasting no time at all the song casts out a hook driven by syncopated drums, bass, and rhythm guitar, alongside a warbling guitar lead. The distorted nature of the bass tone reveals itself on the upswing of the intro, which marches forward as vocals enter with a few sparsely punk nuances breaking up the guitar chords.

Portland’s Conditioner Disco Group (once simply known as Conditioner) are back with an extended name and a long-awaited new self-titled album. Due out April 12th via Sweden’s Maternal Voice Records, the post-punk band continue to the elastic tight insistency of Suggested Use with caustic precision and animated yelps.

The band’s upcoming album, The Glare of Success is a reimagining of Bag of Holding in a way, reworking ideas and pieces of the once melodic wonder into something mind-bending, warped, and unequivocally new. While their may be familiar aspects, this record its own monster, a disorienting drift into dub rhythms, divergent compositions, manipulated layers, and what the label calls “musical recycling.”

“Harmony Park,” one of the record’s highlights, captures the best of the band’s two sensibilities, combining their retro psych jangle with the locked-in post-punk rhythm. They start heavy with the latter and work their way well into the former, a paisley tinged slide into the crescendo.

For Lily & Horn Horse and Banny Grove, and their upcoming full length split, 4 Partners Road, the bizarre art pop of the latter and the smooth but still experimental pop of the former are supreme compliments to one another.

After a flurry of exceptional introductory releases comes Salt, the band’s meticulous full length debut, an album with enough jaw-dropping moments you might as well just leave your damn mouth open. Blending together fractured shards of garage punk, krautrock, post-hardcore, and experimental no-wave, Blessed’s sound is laser-beam focused and expanded further in every direction on their first attempt at album length exploration.

The Chicago math rock band comprised of drummer Seth Engel (Options, Great Deceivers, Coaster), bassist Al Costis (Monobody), and guitarist Rajiv Raju are set to release Everything But Rap and Country, their latest album due out this coming Friday, April 5th.

The songwriting vessel of longtime NY native Avery John, Schmave’s newest record We’re Rowboat People (out May 3 on Flesh & Bone Records) is a record about memory, and how it influences the present.

The band’s music has a slower elemental sort of quality to it, the quartet knotting together in a blanket of tranquility and soft atmosphere. Everything drifts into place, settling in, and moving forward just as soon.

Bones Garage have a knack for elevating the mundane to the sublime. Within two minutes the band had revealed that they had much more up their sleeves: subtle psychedelic flourishes, well-executed rhythmic and melodic shifts, and an invigorating sense of catchiness and playfulness.