If you’re a fan of underground rap, you’ve probably already heard the news that Armand Hammer surprise-dropped a brand new project this week, Snakes & Ladders. It’s an expectedly creative, experimental, hard-hitting affair, and tucked into the last leg of the tracklist is one of the duo’s best cuts yet, “Dogville.” With a lurching, off-kilter beat courtesy of Kenny Segal and Messiah Musik, E L U C I D and billy woods match the uneasy energy with weighty presence and lines that attempt to (unsuccessfully?) grasp at whatever shreds of hope they can find. — Jonah Krueger
Australian duo Armlock have officially announced their debut album, Amazing, and shared another terrific single, “Lifer.” Once again employing a simplified sonic palette and focusing on making the broad strokes shine brightest, “Lifer” is a cleverly cathartic turn from the band. They stay locked into one root note for almost the entire song, casually deviating in the chorus as a light tone skews in and out of tune; after the final chorus, though, they introduce a satisfying chord switch, which essentially recontextualizes the whole song. Armlock are just so good at showing rather than telling, at imbuing an understated, minimalist statement with emotionally loaded subtext. They are undoubtedly a band to watch going into 2027. — Paolo Ragusa
Knifeplay announced their new album, What Is Truth?, with a 10-minute, slow-burn lead single. (Hell yeah.) This week, for the project’s second preview, the slowcore act released “Toil (Reprise),” a reprise of a song that’s not yet out. (Hell YEAH.) Airy and walking the line between blissfully beautiful and unsettlingly ominous, the tune goes from sounding like a Come On Die Young-era Mogwai track to a blistering, noisy sonic assault of guitar stabs and, eventually, black metal-esque chaos, complete with blast beats and tremolo picking. (HELL YEAH.) — J. Krueger
Naima Bock has signed to Fire Talk/Breakfast Records and offered a lovely new folk tune, “Rocks.” Bock wields her alto like no other; when she goes low, her tone is comforting and warm, and when she escalates into her head voice, she’s light as a feather. Her unique approach on the mic is highlighted by sticky, satisfying harmonies, and the song’s sense of urgency, aided by a finger-picked rhythm, establishes an entrancing momentum. Before you know it, you’re hanging on every word. — P. Ragusa
It’s too bad the year is winding down, because Ralphie Choo’s latest, “El Hueso,” could have been a serious contender for song of the summer. The enfant terrible of Spain’s indie scene (an honor he shares with frequent collaborator rusowsky) is up to his usual hijinks on the tropicalia-infused single, weaving hypnotic vocals, playful samples, and an irresistible Latin groove into something as unpredictable as it is danceable. It’s the latest taste of his upcoming sophomore album, CHARMAIN “Le grand architecte,” due in February — Pedro Camacho
A few weeks back, English indie rockers Sorry dropped the cheeky “Tom Will Smack Your Ass.” Now, the crew is back with the more dejected, extremely compelling “Winner,” which, depending on how you interpret the lyrics, could be read as a self-deprecating downer of a tune or a satirical takedown of yet another modern male archetype: the sad, ego-driven, performative indie boi. If you ask me, between the themes and phallic-forward cover art of the two tracks, I smell a potential concept album in the works. — J. Krueger