Album of the Week
Every album that’s earned Treble’s coveted Album of the Week designation.
The Michigan band raises the bar for hardcore with their bracing, cathartic fourth full-length release.
A noise/industrial album that’s appropriate to our times in ways other albums simply aren’t.
Melina Duterte’s follow-up to 2017’s Everybody Works is pretty but not precious, and harsh even when it’s soft.
The Australian group’s second LP is a necessary piece of psychedelic post-punk weirdness.
The trio’s ninth, St. Vincent-produced album is both a testament to their enduring power and ability to leave their comfort zone.
The debut album by this UK seven-piece jazz collective is warm, inviting and exciting all at once.
The Canadian death metal outfit accelerate their progression on their outstanding third LP.
A mixture of sacred and profane and supremely intense from the avant garde vocalist.
The Miami metal outfit delivers their most refined, melodic set of music, which still sounds massive.
A full-blast set of blackened death metal that reveals stunning details on further listens.
The London-based band embrace a defiantly weird sound in an age of chillout playlists.
The Boss returns to his folk roots for an album of gritty humanity.
In less than a half-hour’s time, the South Florida rapper shows he might well have the clearest voice of all.
Another outstanding stage in the rapper’s evolution, one that involves very little rapping.
Stephen Ellison remains true to his oddball identity while forging new paths of avant-garde funk.
The Chicago singer/songwriter/poet recasts cultural superheroes’ powers through the narrative of song on her incredible second album.
The Canadian trio explores a massive sonic space while finding empowerment in it.
The Boston post-hardcore band delivers the best of all possible Piles, resulting in their strongest and most diverse album.
The California psych band finds their definition of “psychedelic” evolving with their best set of songs yet.