Category: indie


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…

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Comparatively speaking, Rotherham appears in the news more than most British towns of an equivalent size. And much of that news is not good. Much of it is representative of poverty, social disenfranchisement, and the ugly face of flag-waving Britain. But self-released, 2020s grass roots indie rockers The Reytons offer a reminder of working class community power, a band who hark back to the days when the only way out of big city estates was through football and pop.
Their last couple of albums (of four, including this one), made it to No.1 and No.2 in the UK album charts, respectively. This quartet aren’t some music-journo-acclaimed-for-five-minutes flash-in-the-pan. In 2024 they put on a 20,000-capacity concert in Rotherham’s Clifton Park,…

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Over the last few years Kurt Wagner has increasingly used Lambchop as a vehicle for musical exploration, with albums like This (Is What I Wanted to Tell You), Showtunes and The Bible reimagining the sound traditionally associated with the name. Much of the experimentation in sound was centred around his vocals, which were often processed through software and devices such as vocoders and autotune.
On Punching the Clown there’s still an on ongoing preoccupation with the human voice but the approach is different, primarily being focused on how voices complement each other rather than how they can be manipulated into different shapes. Alongside the human voice another key sound on the album comes from the banjo,…

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…CD edition features the Bob Dylan cover “In the Summertime”.
Margaret Glaspy’s latest album, I Am Both, is a low-key masterwork of observational wisdom, lilting melodies, and sharp wit. She delivers her stinging lines with a conversational ease, wielding the authority of hard-won experience over ringing guitar licks that echo the guilelessness of her storytelling. Her intimacy compels us to immediately identify with the singer, even when she is singing about people other than herself.
…On songs such as the dreamy “Common Ground” and the more somber “Petty”, the singer bites off lyrics about mutual disappointments. She keeps the lyrics simple to show how basic and trivial spitefulness can be, and at the same…

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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…

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Incorporating field recordings and other organic sounds into a keyboard-heavy atmosphere is nothing new. Still, Ben Dexter Cooley is a master of this genre, and Forager shows him doing it with grace and eloquence. St. Silva is Cooley’s electro-acoustic project, described on his Bandcamp page as a “musician, researcher, and creative technologist”. Forager is a composite of material recorded months before its recontextualization. “Time creates distance,” explains Cooley, “sometimes a healthy distance, between the art and the artist,” shares St. Silva. “This is a document, a marker of where I was during a moment of time and the sounds that inspired me.”
An overwhelming sense of calm envelops the listener immediately, as “And the Catbird Sings”…

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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.

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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.

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An atonal meeting of the minds with David Watson on highland bagpipes and small pipes, and Bill Nace on 5 and 2 string taishōgotos and harmonica. Simply listing the instrumentation should be enough to thin the herd on this blistering full-length platter. But far from being a collection of traditional tunes from their respective motherlands, or some sort of angular take on cultural appropriation, On Bats delivers a sound world situated firmly in the saddle of a shared singular vision. Watson and Nace approach their instruments and compositions with an endurance and intensity that make a false chord growl sound like one-dimensional cartoon fodder.
Similar to his taishōgoto work on the stream of LP’s Nace has released on his Open Mouth…

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In 1923, the young French novelist André Malraux trekked through the Cambodian jungle to Angkor, the ruins of the ancient capital city of the Khmer Empire, to steal bas-reliefs from the Banteay Srei temple. He intended to sell the art in London or New York, but was caught and sentenced to three years in prison.
That is, until France’s leading writers, among them future Nobel laureate André Gide, petitioned for his acquittal by arguing that Malraux’s potential as an author was simply too great to squander because of a youthful indiscretion.
This example of cultural colonialism is key to Saphy Vong’s new album as Neo Geodesia, Oknha Stamina. Born to Cambodian parents, Vong grew up in Nancy, France — right near…

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Tiarn is a gorgeous sophomore record by Australian ambient-folk producer, composer and multi-instrumentalist Hana Stretton. It follows her 2023 debut album Soon, which, like its predecessor, comes alive off the record, existing as a living and breathing tapestry of sound. Where Soon found its focus on the fires and floods of the Australian bush, the latest project casts its gaze on the endless shores of the Pacific Ocean, where Stretton’s boundless textural explorations reflect a world suspended in blue.
Living in isolation near the ocean, overlooking the winter migration of Whales, Stretton would regularly swim for 20 minutes during the ‘blue hour’. Ideas would crystallise into existence as she submerged into icy salt water, and melodies…

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…Arriving 26 years on from its original 2000 release by the Fuzzbox label, and after a 2003 reissue via Beggars imprint too pure, the album has been newly remastered by Sean Magee at Abbey Road Studios.
Sure, the title is ironic. But its aim is good. ‘My Pain And Sadness…’ wields irony as a savage weapon rather than a smug, self-serving joke; this is the sound of McLusky’s kangaroo court convened – a self-appointed culling force, dead set on weeding out cynical three-chord punk fakers by sounding a lot like Sonic Youth re-recording ‘Daydream Nation’ at double speed. In an abbatoir.
Blood, guts, righteous fury – they’re all things the Yanks are currently churning out in factory-line proportions, and at first, it seems…

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Mount Shrine was César Alexandre, who passed away about five years ago due to complications from COVID. The Yasu Ether Project is a posthumous re-release of an earlier, obscure album that had only limited availability. The album centers on soft, airy drones, strong bass elements, fuzzy static, and field recordings. The latter provide the feel of nature, perhaps haunted forests and meadows full of birdsong, with synth providing a twinge of melancholy. Arpeggiated chords waft, anchored by deep tones.
The feel is melodic though unconventional. While the more experimental side of ambient music can be suffocating or isolating, this effort exhibits a degree of warmth. Not exactly upbeat warmth, but its incorporation of sounds from…

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In the digital era, it’s rare to encounter a project as ambitious as this: a triple-LP concept album available as a boxed set, including a book with a short story (in Italian) and 180 illustrations. Un Sequestro Lungo 10,000 Anni is the love child of Samuele Gottardello (Blak Saagan) and Iranian illustrator Majid Bita, the second in a series of Opale Editions by Maple Death Records and Canicola Edizioni.
The concept is dystopian, the illustrations vibrant despite their dual tones, portraying a world overrun by monsters and monstrous humans, a savage police force keeping a terrified and often angry populace at bay. In one scene, a bus rushes headlong toward a gaping maw. The apartments are jammed and often infested; Big Brother…

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Sometimes, all you need is a change. When Nora Stanley, an accomplished saxophonist who has worked with, among others, Beth Orton and The New Pornographers, moved to New York City from Oakland, California, she didn’t know she’d be inspired to write so many songs that she’d release an album of her own. “It’s a very unique and specific experience to live in a city that’s hyper-stimulating,” Stanley says.
Her songs are elegant, poetic, and lush, more of a retreat from the city’s chaos. They act as a way for Stanley to “slow things down and process them.” An experienced collaborator herself, Stanley enlisted a wide range of musicians for her debut album, including Shahzad Ismaily, Benny Bock, and Nate Mendelsohn.

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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…

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