Home Counties’ flirtation with provincial-pivoting alt anthems alongside lyrics mapping tongue-in-cheek suburban excursions – by way of socially-charged takes on contemporary life – found feet on last year’s funk-flecked debut LP Exactly As It Seems. Tracking from rural to urban since their formation five years ago, the East London-via-Buckinghamshire six-piece intersect space and time in equal sonic measure. Their first two EPs came leaning on the skewiff yet nimble post-punk footwork of acts such as Yard Act and Squid to evermore synth scored dabbling that has seen the band flaunt twitchy electronic segues adjacent to straight-up indie-pop panache.
Finding voice through dual vocalists Will Harrison and Lois Kelly, Humdrum pins its focus…
Category: indie-pop
Although Unfold in the Sky may be the first album by the solo project of Penelope Isles‘ Jack Wolter, it’s worth noting that Cubzoa (derived from “Cubozoa,” a class of box jellyfish) actually pre-dates the band and served as its launching point in the mid-2010s. He returned to Cubzoa while staying at his family’s home in Cornwall during the early part of the COVID-19 pandemic, then completed work on the project’s full-length debut after returning to his longtime base of Brighton. That affectionate return to the coast inspired the album’s recurring water theme, one of several components of a highly trippy, immersive set of electro-acoustic art rock that ultimately exceeds the “side project” status. Also inspired by COVID isolation and bands such as…
…The album’s original 12-tracks return in freshly remastered form, while the total number of rarities spread across CD and digital versions totals 23 tracks, including early demos, remixes and B-sides including four previously unreleased.
As Super Furry Animals settle into their second decade of recording and with it their status as veteran rockers, they’re inevitably less surprising than they were at the outset of their career, when their music not only had an exhilarating rush, but there was a sense of impish glee, the sense that they were getting away with something that they shouldn’t. That naturally has declined with the passage of time, yet with their seventh album, 2005’s Love Kraft, SFA show signs of settling comfortably into their status as…
Hannah Jadagu’s debut album seemed to come a bit out of nowhere. After her debut EP What Is Going On (entirely recorded on an iPhone using GarageBand) attracted the attention of the legendary Sub Pop label, which led to Aperture, a remarkably assured debut collection.
Two years later we have the follow-up, Describe, and it sounds like a natural evolution of Jadagu’s sound, while adding some extra flourishes. The overall sound remains the same – dreamy, languid indie-pop, with Jadagu’s voice not too over-treated by vocoder. This time around though, there’s a move towards a more rounded sound, rather than the guitar-based songs of Aperture, with new producer Sora Lopez coming on board to join Jadagu’s regular collaborator…
A band that has drawn on a variety of ’90s alternative inspirations (grungy alt-rock, winding math rock, tuneful pop-punk, shoegaze, and more), Cusp find their way to something still varied but more streamlined on their second album, What I Want Doesn’t Want Me Back.
Some of its relative consistency may well be due to how it was recorded: it was tracked almost entirely live at Electrical Audio in Chicago by a newly expanded five-piece edition of the group (with returning engineer Scoops Dardaris). This is not to say that the album suffers from sameyness; on the contrary, it was written during a period of transition as the project moved from Rochester, New York, to the Windy City, and is rooted in anxiety and the examination of forces like…
Amateur is prolific musician Molly Nilsson‘s 12th album, and while it stays true to the specific style of D.I.Y. synth pop she’s always created, it also embraces eclectic influences the way her previous album did. The title also refers to the joy and enthusiasm that drives creation, even though the word amateur also gets taken to mean someone who lacks professional qualities or ethics. To that end, her music seems to follow in the tradition of independently released synth pop efforts from the early ’80s rather than big-budget chart-toppers, with songs that might sound rough and unpolished, but are undoubtedly sincere and passion-driven. The lyrics also offer commentary on life in a capitalist system, delivered from the perspective of someone who’s worked hard…
Jeff Tobias wrestles a frantic saxophone in psych-jazz Sunwatchers and a subtle bass counterpoint in serene and minimalist Modern Nature. Here in a solo project, he splits the difference, amping up indie melodies with proggy, jittery, staccato arrangements, and reinforcing dystopian scenarios with enticing, nearly pop tunefulness.
One Hundredfold Now in this Age takes a strong political stance, but sweetens the polemic with indie drift and dream. “End It,” allow only a brief interval of synth-and-strings shimmer before unspooling its insurgent chorus. “Burn the American flag, one hundred times a day,” Tobias croons, his tone unbothered, his message aflame, as a glittering fusion jazz fanfare goes off in his wake. The song was inspired by American…
Six years after 2019’s Fever Dream, Of Monsters and Men returned with their fourth full-length, All Is Love and Pain in the Mouse Parade. Hitting on the highs and lows of life, the Icelandic quintet stick close to their established sound: touching and tender indie folk anthems that play on earnestness and innocence. The vocal interplay between Nanna Bryndís Hilmarsdóttir and Ragnar “Raggi” Þórhallsson remains the primary draw, with the band — Brynjar Leifsson, Kristján Páll Kristjánsson, and Arnar Rósenkranz Hilmarsson — wrapping listeners in the warm sonic hug that the group is known for. These are intimate peeks into life, both the good and bad, or the love and the pain from the album’s title. The simplicity helps focus the effort, which dials back the bombast of…
British rocker Miles Kane joins forces with the Black Keys’ Dan Auerbach for his bluesy and bombastic sixth album, 2025’s Sunlight in the Shadows. A gleefully obvious case of what you see is what you get, the album (which follows 2023’s One Man Band) finds Kane and producer / instrumentalist Auerbach essentially playing out their idol worship of Marc Bolan’s T. Rex, crafting psych-soaked glitter stomp anthems drenched in fuzztone guitars. It’s a throwback, vinyl-era aesthetic both artists have explored on previous albums and one which has been a creative touchstone for Kane going as far back as his Last Shadow Puppets albums.
Here, they recorded live in studio, backed by a potent cadre of instrumentalists, including…
Not only had the Bats been making records for over forty years when 2025’s Corner Coming Up was released, but their quality had never dipped even a little. Every record has featured intricate guitar interplay, chugging rhythms, melodic bass lines, Robert Scott’s wistful lead and Kaye Woodward’s supportive harmony vocals, and songs that don’t go for big gestures, instead zeroing in on the tiny moments that meld together to make or break a heart, or build a life.
This record has exactly the same amount of those things that all their previous records have, though now the specter of age has started to creep in around the edges. Not that they sound old in any way, but more that the weight of their catalog have grown to the point where they…
In May, Dua Lipa introduced a special guest at her Sydney gig: Kevin Parker, who duetted with her on a version of ‘The Less I Know the Better’, the biggest hit Parker has ever released under the name Tame Impala. The pair have a longstanding creative relationship – Parker co-produced and co-wrote most of Dua Lipa’s last album, Radical Optimism – but nevertheless made for quite the study in contrasts. She was resplendent in a glittering lace catsuit, stiletto-heeled boots, a fake fur stole draped over her shoulder.
Lank-haired, clad in a baggy multicoloured cardigan and a string of wooden beads, Parker looked not unlike a man who had arrived onstage direct from a very long night up at Glastonbury’s stone circle.
If it had been released any other year, The Telephone Numbers’s 2021 album The Ballad of Doug would’ve been an indisputable highlight of the jangle pop genre. It has all the requisite qualities: winsome vocal melodies, delivered with scruffy sweetness; silvery electric guitar strings, strummed ‘til pillowy soft; a strolling pace and sun-dappled vibes to balance the melancholy.
It’s terrific, but it didn’t get the attention it deserved — not because of critical indifference, necessarily, but because 2021 just happened to be a loaded year for jangle pop, with top-shelf releases by Ducks Ltd., The Umbrellas, Teenage Fanclub, Chime School, Quivers, Massage, The Reds, Pinks & Purples, and The Boys With The Perpetual Nervousness, to name just a handful.
…The deluxe album feature acoustic versions of every song from the original release as well as bonus covers of Beastie Boys’ “Sabotage” and Violent Femmes’ “Blister in the Sun.”
If Winona Fighter had nothing else going for them, they’d still have an all-time great celebrity pun band name.
Their chosen handle is immediately memorable, the right amount of goofy and ties the band to an enduring and endearing public figure. But what really puts the name a cut above the Chet Fakers, Joy Orbisons and Been Stellars of recent music history is that the Winona Fighter moniker also speaks to the abundant, not name-based positives the Nashville trio do have going for them.
My Apologies to the Chef, the band’s debut…
It’s been three years since Girlpool, the DIY indie-rock duo fronted by Avery Tucker and Harmony Tividad, went their separate ways. Though their breakup was amicable, their disbanding is still deeply felt. The two built a niche yet passionate following since their start, emerging with compellingly lo-fi and small-scale ambitions on 2014’s Before the World Was Big and 2017’s Powerplant before evolving into more serious and exploratory territory on 2019’s What Chaos Is Imaginary and 2022’s Forgiveness. Keeping everything glued together was Tucker and Tividad’s ironclad bond as vocalists, songwriters, and friends. Even when Tucker transitioned in 2017 and his voice subsequently dropped, such a change managed to give even greater…
…contains 12 new songs written, recorded, and produced by Keery and Thein at Electric Lady Studios while they worked on ‘The Crux’, and completed months after the album’s release.
Musician and actor Joe Keery stakes his claim on the pop world with his third album as Djo, 2025’s swoon-worthy The Crux. The album, which follows 2020’s Twenty Twenty and 2022’s Decide, once again finds Keery indulging his pop passions while offering a fresh creative window on his persona as the loveable former high school jock-turned-righteous cool dude Steve Harrington on Stranger Things merely hints at.
Just as Keery’s trademark mullet and devilish smile as Steve conjure a kind of ’80 throwback charisma, his music as Djo has an equally evocative…

