Melbourne-born, Berlin-based singer-songwriter Ned Collette collaborated with some notable names on his last release, 2024’s Our Other History, including Dirty Three’s Jim White and Mick Turner, Leah Senior and The Necks’ Chris Abrahams. The collaborations continue on his new album, Mixed Light, with Senior and Abrahams once again, plus long-term band members Joe Talia (drums) and Ben Bourke (bass).
Collette is back on Melbourne label It Records, who put out 2018’s masterful Old Chestnut, after releasing Our Other History on Ryan Davis’s Sophomore Lounge. Mixed Light feels decidedly more coherent than its predecessor, moving adroitly between musical styles and coalescing into a deeply satisfying album.
Category: indie-pop
Thanks to Olivia Rodrigo’s wildly successful Daisy Chain Fields Music Festival last week, a new generation of fans is discovering Gen X alt-rock staples like The Breeders, Garbage, and Bikini Kill. On a much smaller scale (at least for now), Nashville’s Hannah Cole may be responsible for introducing Gen Z to the beauty of shoegaze bands like Ride and Lush.
On her debut LP, Switchbacks, she melds the swirling, fuzzed-out guitars of shoegaze and ’90s alt rock with sophisticated pop melodies that act as a Trojan horse for some powerful lyrics. The title track opens the album with screeching guitars and solid drumming, with Cole’s soft, measured voice fighting to be heard above the dissonance. The distorted, reverb-heavy guitar…
Guava Girl Summer is so 2025. The era of the “Chaotic Princess” is now. So reads the gospel according to Marci, whose rhinestone-crusted new album Mask Lady and Late Night Girl flicks through the glossy pages of power pop and soft rock with quips about getting baked at sunrise, chatting on the landline, falling on your knees, and making the devil cry. Co-written and produced with her TOPS bandmate David Carriere, Marta Cikojevic’s second LP reprises the disco-speckled all-or-nothingness of 2022’s eponymous debut, serving up a platter of glittery hooks and golden grooves styled with unashamedly retro trimmings.
Marci sounds like the name of the hot next-door neighbor in a John Candy film, but on this semi-autobiographical record, the Montreal…
…Deluxe 2CD with additional 11 tracks.
God Bless the Band feels like an unexpected encounter with your younger self. Compiling tracks from across Courteeners’ career, the collection revisits a period when British indie was less a musical category than a social world, sticky floors, packed festivals, late trains home and the optimism of believing the next weekend might be the best one yet. The nostalgia here is not simply for the music, but for the atmosphere that surrounded it. That sense of time passing gives the collection its weight. Early favourites sit alongside later material, charting how Courteeners have gradually moved from the rawer energy of their beginnings towards something broader and more polished. “Modern Love” still has that…
When reviewing Bayonne’s 2016 album Primitives, PopMatters described how “If Debussy and Phil Collins fell in love, Bayonne would be their baby. (That’s a good thing.)” The allusion remains apt. The Texan multi-instrumentalist has continually cited adult pop-rock luminaries such as Phil Collins and Enya, and that fascination with expansive, polished pop remains present on Bayonne’s fourth album, Filters. Yet Bayonne doesn’t simply recreate the sounds of the 1980s. He filters them — appropriately enough — through the loop-based production techniques of contemporary bedroom pop.
On Filters, as with much of Bayonne’s music, the dominant instrumental pairing is a resonating piano accompanied by vibraphone. The piano…
Arab Strap were full of middle-aged malaise from day one, at least spiritually. Now, 30 years on they’ve grown into the curmudgeons they were always destined to be, but their ninth album is just as funny and insightful as ever, as the grinding minutiae of life’s banality is contrasted with touching messages of hope and contentment.
Many of these songs are more or less an inventory of gripes on a given theme: internet slop, physical decrepitude, the manosphere etc. All backed with varied arrangements, like the no-wave skronk of ‘Dollar Park’, the old-school thrash finale on ‘You You You’ or the industrial jazz-rock bombast of ‘I Get Noise’. It’s a rich musical abyss for Aidan Moffat to shout into.
But while the one-liners and pop culture…
Yumi Zouma are breaking up with dream pop. After a decade together, the New Zealand four-piece have honed an airy, lush, lightly melancholic sound – but now they want change. “More extreme everything, more boldness,” guitarist Charlie Ryder has said of fifth record No Love Lost to Kindness, written during the band’s “most friction-filled creative period” to date. While it’s true that their latest singles are faster, louder and more distorted, these bright, pretty tracks will rattle only their longest-serving fans.
‘Bashville on the Sugar’ locks eyes with an ex on the subway and rushes with Olivia Campion’s breathless drumming, while ‘Blister’ flips the band’s knack for whistleable melodies into pogoing, enjoyably predictable pop punk…
After 10 releases that have garnered Montreal’s Rishi Dhir and his band Elephant Stone a staunch cult following and collaborations with the likes of The Brian Jonestown Massacre and Beck, maybe after their latest album Asha, they will get more than they deserve.
After all, Dhir has been around for a while, covering almost a whole spectrum of psych rock known so far, not only with Elephant Stone but with The Datsons/The High Dials before, and has been one of the more forward purveyors of that branch of psych that looks to India and all things on the Eastern side of the globe.
And so far Dhir and Elephant Stone have not missed a beat in that respect, and obviously had no intention to miss it on their eleventh…
…remastered by legendary audio engineer Howie Weinberg and includes 12 previously unreleased tracks. This bonus material compiles B-sides, outtakes, and raw demos from the original recording era.
A smaller, simpler affair than his breakout album, Sha Sha, Ben Kweller’s On My Way strips away the polished alt-rock production and emphasizes the singer/songwriter side of his music. There’s nothing here as immediately infectious as the Sha Sha singles “Wasted and Ready” and “Commerce TX” were, and overall it’s a more subdued album. However, this somewhat more mature approach is contrasted and balanced by Kweller’s voice, which still sounds charmingly, vulnerably adolescent as he ventures further into his twenties.
When Pulp and Jarvis Cocker (the band’s soul and brain) appeared back in the ’90s, quite a few critics, even with all the praise, didn’t expect either to last long on the music scene, tying Pulp and Cocker to the Britpop “fad.”
Well, that “fad” is still around, and so are Pulp and Cocker. Yet they didn’t succeed because they remained strictly connected to Britpop, as both had wider aspirations, which they were able to reach with some, simply put, brilliant music and lyrics, being one of the rare artists that were able to bring their cross of British/European song trends (and Cocker himself is a sort of an encyclopedia in that respect) worldwide.
So it is no wonder that Pulp is getting their own live documentary – Pulp: What Do You Do…
Into the Sky is the realisation of a project six years in the making. With the need to keep active during lockdown, former Late of the Pier singer Sam Eastgate – aka LA Priest – made a dance record entirely from sampled material, devising his own form of house music in the process. Yet the finished product sat in the studio while Eastgate completed his guitar-based third album Fase Luna in 2023.
More recently, however, Eastgate revisited his work in the company of producer friend Alex Ridha, aka Boys Noize. Their challenge was to wring as much emotion as possible from the voice and just two accompanying instruments. These are a drum machine – a Gene built by Eastgate himself around a decade ago – and a synthesizer,…
The discourse surrounding the Linda Lindas is more telling about the state of the music industry than of the band’s actual music.
It’s impossible to ignore the cultural criticism associated with the quartet of Lucia and Mila de la Garza, Eloise Wong and Bela Salazar, who rose to fame on the back of a 2021 viral video of them performing a song entitled “Racist, Sexist Boy” at the Los Angeles Public Library. Take one quick Google search and hordes of comments calling the Linda Lindas “nepo babies” or “industry plants” will immediately become apparent.
While people have been quick to blow the whistle on nepo babies lately, one can’t help but notice such labels are disproportionately wielded against women, especially racialized women.
There is something immediately intriguing about Dum Evol. Brighton’s Moon Attendant have created an album that feels rooted in the psychedelic sounds of the 1960s while refusing to settle comfortably into nostalgia. Across ten songs, guitars, keyboards and violin combine in ways that can be playful, dreamy, mournful or deliberately unsettling. The results will not be for everyone, and there are moments when the music feels as though it might collapse under its own eccentricity. Yet there is plenty to enjoy here, particularly for listeners willing to follow the album wherever it chooses to go.
The Sounders establishes the mood immediately, its retro-psychedelic sound providing a suitably strange introduction. The lyrics are equally…
…includes the original album tracks supplemented by rare B-sides, remixes, and a pair of previously unreleased instrumental tracks.
Maps & Atlases’ second EP, You and Me and the Mountain, found the band moving in a lighter direction than the mathematical frenzy of their first EP Trees, Swallows, Houses. Their first full-length sees them fully morphed into a sophisticated indie pop group. Perch Patchwork is a bold debut, filled with bombastic arrangements, twisting modal progressions, and percussive layers. The skill set is high, but it’s far less showy. Guitarists will still be enthralled by Dave Davidson’s and Erin Elders’ fingertapping, but acoustics take precedent, and moderately slow tempos maintain the album’s balladic feel.
On his previous album 2022’s Avatars of Love, Sondre Lerche hit on a sound that really worked for him. Super sophisticated with loads of strings, smooth textures, and intricate instrumentation, the backing was perfect for his wistful tales of love and heartache. It was such a perfect amalgam of sound, emotion, and performance that it makes sense that for his next album Lerche would want to keep things roughly the same.
2026’s Acrobats brings back the strings and smoothness, as well the pristine arrangements that frame the songs, sometime with sensitive grace, other times with almost bombastic power. It’s a bit of a shift from Avatars of Love in that the songs and sound are a little more insistent. “Drive Me Away From You” is strident and pulsing…
…a digital deluxe edition of the album with three bonus tracks.
The U.K. band Wolf Alice have been making eclectic pop-rock for a decade, specializing in textural music that swings big emotionally while moving within different sonic settings, proving what a guitar band can do to stay on its game in a post-guitar world. They’ve never put it together with the sweep and depth of their fourth album, The Clearing, steeped in classic Seventies and Eighties influences yet never feeling like they’re just firing up a playlist of old bangers.
Singer-guitarist Ellie Rowsell goes all-in on huge rockers while delivering serious personal impact on this album’s softer stock-taking moments. Musically, they’re sharp as ever.
