Category: indie-pop


In the novel Barney’s Version, Mordecai Richler wrote of Montreal that “its salvation [is] the continuing devotion to pleasure by our movers and shakers.” The city exudes a self-assured, continental coolness, and its relative affordability makes it admirably hospitable to its artists. But Richler is right that this coolness takes effort; it’s an act of devotion rather than a natural endowment to the Québécois.
Hélène Barbier is one such devoted mover and shaker. Relocating to Montreal from France some 10-plus years ago, she’s put in the work: first with the lo-fi punk outfit Moss Lime and then as co-founder of label/zine/all-around scene-saver Celluloid Lunch, alongside her equally industrious husband Joe Chamandy of…

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Those silhouettes on the cover of Big city life? That’s you and me! Smerz’s latest and best album feels like it was made for projection.
It’s not designed to be relatable, that most cursed descriptor of meaningless contemporary pop, but to be lived in, tailored to your body, snagged on the pedal of a Lime bike. In that sense, it lends itself fabulously to a remix album, and so arrives Big city life EDITS, an album of sinuous reinterpretations that highlights the endless plasticity of Catharina Stoltenberg and Henriette Motzfeldt’s voices and songwriting.
Across these 14 reworks, 18 acts write artful Smerz fan fiction: For the most part, the duo’s voices are left intact, but layered atop sounds far removed from the original record’s arch,…

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Haerts deliver a hushed and folky third album with 2025’s Laguna Road. The album is named after the road where the German-born/longtime Brooklyn-based duo of singer Nini Fabi and instrumentalist Benny Gebert lived and recorded the album in Pasadena, California. They had moved west following the release of 2021’s Dream Nation, as well as the birth of their daughter and were just finishing up the album when the Eaton Fire swept through Pasadena, destroying much of the community where the couple made their home. Consequently, they made the difficult decision to move back east, settling in New York’s Hudson Valley where they prepared the album’s release. Where previous albums showcased the duo’s dreamy synth pop,…

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As Farao, Kari Jahnsen has experimented with a range of electronic-acoustic palettes, setting her textured arrangements within indie folk, alt-pop, orchestral rock, glossier electronica settings, and combinations thereof.
With her third album, Magical Thinking, she leans into an R&B-inflected alternative dance sensibility that falls on the sleeker extreme of her output thus far, although it should be noted that both she and producer Ådne Meisfjord (120 Days) are credited with beats, synths, percussion, and, last but not least, zither. So, she hasn’t left her blended, psychedelic-leaning approach behind. It also isn’t entirely club-friendly. The album was recorded between Berlin and Oslo, Jahnsen’s former and re-adopted base, respectively.

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It’s been a significant year for chamber-pop band Winterpills. The Western Massachusetts quintet recently marked their 20th anniversary with a remixed reissue of their debut album — complete with a pair of bonus tracks — and now they’ve returned with This Is How We Dance, their eighth album and first release in nine years.
Across these 12 songs, the rich melodies, shimmering guitars, and evocative lyrics serve as a reminder that even after a long hiatus, Winterpills have lost none of their luster. In fact, they may sound better than ever. Philip Price, the band’s principal lyricist, can summon a mood with just a small turn of phrase, and when his voice intertwines with Flora Reed’s, their harmonies create the luminous core of the band’s sound.

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The title of this latest album from Wyldest (aka Zoë Mead) feels like an existentially accurate description on today’s world turmoil.
An examination of the world on a micro and macro level, it sees the London-based singer-songwriter – who has long been acutely talented at portraying introspectiveness in her writing – look more outward for personal upheaval, finding more artistic freedom in the process.
‘After the Ending’ paints this picture vividly. Wyldest’s vocals lilt over shimmering guitars via pop-imbued melodies. It may sound bright, but the track was actually written after Mead received a diagnosis of endometriosis. This forced her to contemplate the prospect of a life-threatening illness and temporarily pause…

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Tony Molina fits grace into the smallest spaces. His songs are abbreviated, mostly in the one to two minute range, but never in a hurry. They make their point with radiant jangles and bittersweet curves of melody, sketch out an indelible chorus, and trail off. If you’re in too much of a hurry for Teenage Fanclub, these songs have the same ineffable bright-and-shadowy wistfulness, without the guitar breaks and middle 16s.
On This Day is typical Molina in that it contains 21 songs, a few of them heart-stopping, and lasts just 23 minutes. It is, perhaps, a bit less amplified than earlier albums like the 2018’s Kill the Lights or 2019’s Songs from San Mateo County, an album whose fuzz-crusted sweetness called Bandwagonesque, but shorter.

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…2025 Kevin Vanbergen remaster.
Serving as an introduction to the U.S. market, Gala compiles the band’s first three EPs and adds a couple outtakes. One thing that went overlooked about Lush was their ability to veer from violent and edgy noise breaks to pop effervescence. They were always capable of spewing out Saturday morning glow and Sunday evening doom from song to song. Their early reliance on sheets of distortion, buried vocals, and production issues didn’t help this situation. As a result, their out-the-gate raw talent went rather unnoticed, evidenced on their earliest works. Scar demonstrated their under-appreciated diversity immediately. “Thoughtforms” is an example of their heavenly pop greatness, with the vocals sweeter and…

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…include two songs that were not initially released on digital streaming platforms.
Hayley Williams has always been bold — from her brightly-hued hair dye to her kickass attitude as the lead singer of Paramore. When it comes to music, the singer is equally unafraid. She belts her heart out and spits brutally honest lyrics across the band’s discography and her own solo albums, 2020’s Petals for Armor and 2021’s Flowers for Vases/Descansos. But never has Williams sounded as brave as she does on her third album, Ego Death at a Bachelorette Party. “I’ll be the biggest star at this fucking karaoke bar,” she declares on the moody title track. The song’s chorus repeats one line over and over again (“Can only go up from here”) as Williams gives up on shooting…

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Saul Adamczewski, co-founder of Fat White Family and frontman of Insecure Men, endured a harrowing personal collapse in 2024, spending months in a cupboard in Tulse Hill amid severe psychosis and opioid addiction. After calling his mother and undergoing withdrawal, he began rebuilding his life, reconnecting with family and bandmates. This recovery led to A Man For All Seasons, the second Insecure Men album and a creative rebirth.
Recorded in the spring of 2025, at Ray Davis’ Konk Studios in Hornsey, North London with producer Raf Rundell, the album reflects Adamczewski’s shift toward collaboration, with a band lineup including Marley Mackay, Victor Jakeman, Fat White Family’s Alex White and Steely Dan Monte.

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Magnificent Fall, The Notwist‘s new rarities compilation, compiles some special and wild moments from this unique German indie group’s rich history. They’ve always snuck gorgeous songs and thrilling remixes onto split singles, extended plays, and other formats, across their career, and pieced together here – compiled thoughtfully, with sensitivity to flow and the listening experience – these thirteen selections work as a kind of ‘shadow narrative’ of The Notwist, an alternative index of the possibilities this shape-shifting group uncovered during their time together.
They’ve been smart to let go of chronology when sequencing Magnificent Fall, so the songs here move across phases and stages of The Notwist’s career, helmed by brothers…

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Now onto her third album, it’s clear that Stella Donnelly likes to take her time. Donnelly first appeared in the post-Courtney Barnett wave of new alternative music from Australia, and her album Beware of the Dogs was one of the best albums of 2018. That was followed three years later by the well-received Flood in 2022.
Another three years have passed since Flood, and Love and Fortune is obviously an album with a huge amount of care and attention lavished on it. It’s a much more stripped back record than either of its predecessors, with the majority of songs simply Donnelly on piano. And while Beware of the Dogs in particular seemed to fizzle with an energy and an anger about it, Love and Fortune is a more reflective, inward looking collection,…

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After making a name for themselves, including charting on the Billboard independent, rock, and alternative lists, with their warm, mellifluous take on vintage folk- and country-rock, Whitney — singer/drummer Julien Ehrlich and guitarist Max Kakacek — experimented with lush electronics and even hip-hop beats on their fourth album, SPARK. Arriving three years later, Small Talk marks a glowing return to inviting organic textures on a philosophical album informed by breakups and broader lessons learned. It was recorded without an outside producer — a first for Whitney, at the encouragement of prior producer Brad Cook — in a barn in Newberg, Oregon, that contained recording gear collected over the years by Ehrlick’s father (also a drummer), including…

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Hatchie, aka Harriette Pilbeam, has always had a knack for making melancholy sound strangely uplifting. On her latest album Liquorice, she leans fully into the sound that made her name, delivering a record that plays to her considerable strengths.
The album opens in understated fashion with “Anemoia,” all hazy vocals and wistful lyrics. Things really take off with the sublime “Only One Laughing” and “Carousel,” which both sparkle like The Sundays’ long-lost cousins, located firmly in “I Kicked a Boy” and “Can’t Be Sure” territory. Sandwiched between those two songs is the title track, which, oddly, is the only moment that doesn’t quite land. It feels both a little undercooked and, conversely, slightly overthought compared to the rest of the record.

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Will Westerman thinks he spent too much time on An Inbuilt Fault. He’s still proud of it, but the British musician, who records under his surname, wanted to do something differently this time around. “Nothing is ever really finished if it’s a new idea,” he says. “It’s just an arbitrary line in the sand because there’s no template to judge it being finished, other than your own exhaustion.” He spent a long time tinkering with his sophomore album, which was released in 2023, so he decided on another course of action for its follow-up: capture something made in a short timeframe.
Maybe that’s why A Jackal’s Wedding, by contrast, sounds so much looser, not in the sense that it feels unfinished; rather, it’s far more spacious than its two predecessors.

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Portugal. The Man, the genre-agnostic outfit led by the multi-faceted John Gourley, is changing before our very eyes.
Not in the way this band has been since they emerged in the mid-2000s, consistently shifting sonic terrains throughout their wonderfully colorful discography, but on a more personal level. Gourley is now a father, fully independent after leaving Atlantic following the band’s 2023 LP, and set up in a home studio, free to welcome in any number of collaborators and to curate a spacious environment for his lofty indie rock visions to flourish. With a new studio, outlook on life, and a catalog that has garnered critical acclaim, the latest Portugal. The Man LP finds Gourley at an interesting, scary, and exhilarating moment in his career.

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