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…
Category: indie-pop
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.
Who is GB? When Danish record label Posh Isolation called it quits in early 2025, one of the final records in its 16-year run was a mysterious album of savvy post-punk by an unidentified artist whose initials were scrawled in blue across its cover, with very little other identifying information. GB later turned up in The Guardian’s profile of Copenhagen’s Rhythmic Music Conservatory — the educational institution that has attracted recent media attention for producing renowned graduates including ML Buch, Erika de Casier, Astrid Sonne, Smerz, Molina, and Clarissa Connelly — and was later revealed to be one Gustav Berntsen, a recent graduate of the program who has been active in Copenhagen for many years.
As frontman for the band Pardans, he’s…
As a fearless thought leader named Todd once argued, Weezer have had a far more interesting career than fair-weather fans who stopped listening after their first two albums realize. It’s been a turbulent ride through beautiful highs and brutal lows — sometimes within the same song, as on 2022’s wildly uneven SZNZ EP series. It’s not always been fun, but it’s certainly been interesting.
The missing ingredient, even throughout Weezer’s best post-millennium moments, has been the production. Increasingly, it sounds like frontman Rivers Cuomo makes albums sitting in front of a laptop with his guitar plugged directly into the interface with an amp sim in his DAW. Heavier rock material like 2021’s Van Weezer and the following year’s SZNZ: Summer has never hit quite…
After releasing six albums of varying heft under his Melaina Kol alias between 2016 and 2022, Nashville’s Logan Hornyak has taken longer over this one, time spent adding strings to a sometimes literal bow. Up to now, his output’s been decidedly loose and unbuffed indie pop, like an even lower-fi Sufjan Stevens combining a fragile voice, acoustic guitar and cheap electronics, all held together with paper glue. For Okay that’s a great idea because if I do that then, he’s learned cello and harp, remembered some ancient piano lessons and found inventive ways of making solid song-like shapes out of them. The results are still small and delicate, but the focus is new.
First, the fibs: Hornyak claims to have moved away from guitar and electronics for this, but…
When you run a record label, no matter how big or small it is, and you are an artist yourself, you have the possibility to spread your wings as wide as you can, no matter how good (or not) it is.
Philadelphia’s Douglas Dulgarian has such capabilities. He runs an up-and-coming indie label (Julia’s War), plays in tagabow and They Are Gutting a Body of Water, but also spreads his ideas, along with Scott Turner (hooky) and Sam Silbert (hooky, circle of fire) in a project that goes by the name of god of war, which just released its second album molly picture.
When you have the freedom to abandon any restrictions it can often lead you to excess, but this trio of musicians seems to have found quite a good balance between…
A running theory: The youth yearn for breakbeats. The frenetic electronics of Nineties dance music have rumbled beneath the surface of indie rock and pop for some time now. The current wave of new acts — think Fcukers, Underscores, and of course, PinkPantheress — wield the sound with an uncanny magnetism, as if communicating from a post-digital future. Ear, the London- and New York-based duo comprised of Jonah Paz and Yaelle Avtan, who met while students at Bard College, have become the type of buzzing indie band you used to hear about in the mid-2000s, fitting as the renaissance of that era’s sounds points to a more spiritual than aesthetic concern.
Following the release of their debut single, “Nerves,” in 2024, the pair have built…
Martin Newell has been releasing wonderful, distinctly British psych-pop as The Cleaners from Venus since the early ’80s. He’s kind of like the UK’s Robert Pollard or R. Stevie Moore, with a seemingly endless well of earworms, all recorded at home on whatever equipment is at hand. (He’s actually written a book on home recording.)
Beryl & Ruff Go Shopping is the umpteenth Cleaners from Venus album, made on an 8-track Portastudio, and it’s pretty hi-fi as far as their records go.
At this point, Newell’s got a signature sound — jazzy, orchestral pop influenced by The Kinks, The Beatles, and other sunshine psychedelia — and a vocal delivery that leans into the Britishness of it all and is as distinctive as his melodies.
The key track gives the album its title. “Where the Fades Meet” opens with swelling strings, which are swiftly underpinned by groovy, shuffling, percussion. The lyrics are carried by a chorale singing of a “fading signal”, “stillness” and “shadows.” It seems to about what lies in the gaps between the perceivable. The melody has a vaguely eastern Mediterranean lilt. Overall, it leans into evoking an exotica-inclined Rotary Connection – the late-Sixties/early Seventies outfit that was a core influence on acid jazz.
“Where the Fades Meet” is the sixth track on the seventh album – there has also been a compilation – that Andy Dragazis has recorded under his Blue States guise. The first, Nothing Changes Under the Sun, was issued in 2000.
Dent May has released many fine albums, most of which have a sweetly chewy soft rock center and all were made by May himself at the computer. He might have invited over the occasional guest, but otherwise he did everything himself. On 2026’s The Big One, May made the decision to change up his way of making records and went into an actual recording studio. Once there he invited in several of his friends to add instrumentation and vocals to the tracks. The result is the warmest, most expansive record he has made yet. The songs are the usual melange of Nilsson-esque baroque pop, gently percolating disco, and sun-bleached singer/songwriter-style ballads, with none of the power pop that crept into the previous album. It’s a predictably nice batch of tunes that…
