This is an intriguingly hard-to-pin-down debut from London’s Curbside Lambsear, AKA Magdalena McLean and Annabelle Mödlinger. Having met while playing in the (still active) art punk band The Umlauts, the duo assembled this lengthy EP in a patchwork fashion. You wouldn’t know it. There’s a coherent sense of purpose to these five tracks, as well as a free-roaming attitude when it comes to genre.
The post punk-tinged opener, ‘No Ordinary Word’, slouches in on heavy-limbed drums and thick, dubby bass, Mödlinger’s insouciant vocals painting a picture of nebulous malaise. “Can’t fight, I’m reeling / it creeps back up, everyday,” she intones, before pleasingly grotty guitar riffs tear through the track and McLean – her voice often…
Category: indie
Whatever’s in the water in Ireland right now needs to be studied. Gurriers are one of the many stellar acts to have arisen from this fertile milieu, five lads from Dublin with a lot of ambition and a lot to say. Their 2024 debut ‘Come and See’ took aim at the world’s many woes, while their tense, exhilarating follow-up digs even deeper into the dark, searching for signs of light.
These 10 tracks creak, judder and detonate, riding fuse-like guitar scratches and claustrophobic drums. Nowhere are these doom-laden soundscapes better realised than the monstrous title track, which groans like an iceberg calving. Gurriers have landed on an oppressive, surprisingly groovy (see the percussive funk of ‘Party Lines’) brand of grand, dark post-punk…
Joy Oladokun’s newest release, Hope Is a Heavy Thing, is one of those rare albums that, from its first moments, makes you realize you’ve found something acutely special. The only thing that diminishes the elation of guzzling the tracks one by one is the sorrow of knowing you will never again experience them in that pure, virginal bliss of the initial listen.
In this album, Oladokun confronts the conundrum many artists skirt around: the impossibility of progress without first addressing the failings of one’s environment and, inevitably, oneself. The singer is working through some heavy things, but she presents them in a way that resonates deeply with the listener rather than weighing them down. Having any hope for the future…
As a duo, Ka Baird and Chris Ryan Williams present a study in contrasts. Baird, a multi-instrumentalist and vocalist, favors density and percussive force, while Williams, a trumpeter, tends to work in subliminal textures and blurred, dissolving tones. They have a lot in common, too: Both use electronics to manipulate their sounds past the point of recognition, and both make music that has a spooky interiority, like a network of gradually constricting tunnels or a slowly flooding grotto. The two previously worked together on Baird’s Bearings: Soundtrack for the Bardos, an ultra-Bairdean work of uncompromising spiritual menace from 2024. Enthalpy, on which Williams receives co-billing, takes a more equitable approach. Though we get plenty of Baird’s…
…This deluxe reissue returns Paulusma’s celebrated debut to the spotlight, pairing the original 11-track album with five bonus recordings from the same prolific writing period. Three of these – ‘Orion’s Belt’, ‘Two Stars’, and ‘Leave Your Keys’ – originally appeared as sought-after B-sides during the album’s 2004 single campaign, while ‘My Errant Knight’ and ‘Pentecostosis’, written and recorded alongside the album itself, are released here for the very first time.
Nearly 35 years on, and the folk and twining soft rock of the early ’70s is being birthed again in a stylized new version. Suddenly young women with unruly mops of dark hair and a flair for dusky vocal phrasing are handily making their way in pop music. They’re clad in comfy…
On Starcleaner Reunion’s warm, fuzzy debut, space is the place. Cooper Edens’ 1979 book The Starcleaner Reunion is an illustrated children’s adventure about a dandyish, top-hatted cohort – the starcleaners – who attempt to restore the darkened night sky with nothing but soapy water and self-belief. It’s the kind of obscure IYKYK story that sticks with you deep into adulthood, all hand-drawn starscapes and galactic whimsy, and so it makes complete sense that the book’s Goodreads page alludes to a “ballet in the works.”
When you name your band, you don’t necessarily want people to dissect it at every opportunity. Sometimes you just pick a few words and crack on. But Starcleaner Reunion just so happened to pick the perfect name to evoke their music.
About a decade passed between the release of Australian artist Spike Fuck‘s breakthrough 2016 Smackwave EP and his debut studio full-length, Evidence, and he lived several lifetimes in those ten years. From the beginning, Spike Fuck’s songs were visceral and intense, and they reflected his lived experience — struggles with addiction that included cycles of relapse, mental health issues, conflicts of identity with gender, religion, and more — and all of it bled through in songs that sounded somewhere between some lost New York Dolls material and the heaviest Patti Smith record never made. After releasing Smackwave, Spike got signed to a label and dropped from that label, lost his father, struggled with addiction, transitioned to living as a trans woman for…
Amid the praise lavished on their roistering live shows, Fat Dog drew a small number of doubters with their 2024 debut album, WOOF.. Some dubbed their dance-punk eruptions “trite”, others one-note. Tight, fresh and frequently expansive, the south Londoners’ second album issues often jubilant answers to such doubts. While a US tour left the band faintly frayed at the edges, a quick return to recording has maintained their momentum. Better yet, they channel a gathering capacity for connection into the tunes and lyrics of Cancel Me (I’m Tired), scoping out room to roam within their well-honed good-time vigour.
Opener ‘Smile & Wave’ implies as much, eschewing the portentous overtures of WOOF. as it kicks off as if out of nowhere, a band caught in…
It’s not a coincidence that Wishy interpolate both “Femme Fatale” by the Velvet Underground and a Bible class singalong within the same track. They never sing the actual words to “I’ve got the joy, joy, joy, down in my heart” — that Sunday school staple you may know from The Simpsons — but the sentiment is heavily implied when the melody tumbles over the outro of “Mona Lisa.” Nature’s Pill, Wishy’s second album, is all about love’s dangerous intoxication (fatale of course meaning deadly) and how, when it goes south, you’ve got everything you need within yourself. The track’s final lyric: “Still life so incomplete now / I’m filling it out myself.” Another case in point, from the record’s closing moments: “Heaven is a state of mind.”
The Indianapolis quintet hasn’t turned to…
For the most recent offering on Easy Eye Sound, the Swiss-Ecuadorian siblings Hermanos Gutiérrez wanted to craft an instrumental love letter to South America. The resulting ten-track breezy affair, Los Ojos Del Cóndor, is an elegant journey through these soundscapes.
Alejandro & Estevan Gutiérrez worked in Nashville with studio friends and producer Dan Auerbach, keeping a visual cue in mind while recording: a lone condor soaring across the Andes. That description, as well as the brothers’ travel and heritage, led to the album’s instrumental offerings, which mix nylon-string plucking and light rhythms with moaning organ and chango guitar strumming, an instrument straight from the Andes.
The opening “Canto Andino” sets the tone and…
…includes two unreleased tracks, era singles, and full-album demos.
It’s no shock that a band made up of former members of Deerhunter and Carnivores would be good, since both those bands are. It’s more of a shock just how good Omni is. With ex-Deerhunter guitarist Frankie Broyles and ex-Carnivores bassist /vocalist Philip Frobos writing a batch of songs that combine the best aspects of brainy, hooky bands like Josef K, Television, and Magazine, then recording them with another ex-Carnivore, Billy Mitchell, on drums, Omni’s Deluxe is a stunning debut. Recorded in sparkling lo-fi by yet another ex-Carnivore, Nathaniel Higgins, the trio mostly sticks to the basic guitar-bass-drums-vocals setup as the album careens from one…
…includes 3 intimate acoustic tracks (“Fall in Fall Out”, “I’m Breaking Out”, and “A Black Moon”)
It is always fascinating recognising influences in a band or artists style, but noting how they have been adapted, morphed into something different and new. For the Brighton based three-piece rock band Tigercub, influences like Nirvana and Queens of The Stone Age are easy and obvious to grasp, but it is also apparent how the trio push through into their own style and making.
For those not in the know, Tigercub consist of Jamie Stephen Hall (vocals/guitar), Jimi Wheelwright (bass) and James Allix (drums). For the last 15 years they have honed and refined their alternative rock sound, and their albums so far – particularly with 2021’s As Blue As Indigo – have seen…
Even at her most austere and experimental, Susanne Sundfør has a way of creating amenable and approachable music that is infused with her own brand of idiosyncratic enchantment, and so it is with Revelations of Divine Love. The singer-songwriter’s seventh album is inspired by recent motherhood and a profound connection with the texts of the fourteenth-century English mystic and anchoress Julian of Norwich. Sundfør recorded this album live in an empty but acoustically conducive Norwegian church with just her voice and the accompaniment of a pipe organ. If that configuration sounds like it might be sparse, her voice is a rich and powerful instrument in itself, and more than a match for the room-shaking timbre of a finely tuned and pristine organ.
In The Juniper Tree, an interrelationship between the ethereal and terrestrial seems to cloak the everpresent Icelandic landscape. The film, written and directed by Nietzchka Keene in 1986 and released in 1990, is disbelieving of binaries such as life and death, natural and supernatural, stillness and unrest. It is perhaps best known as the genesis point for Björk’s career as an actor, but in its compelling feminist retelling of the Brothers Grimm story of the same name it recasts tropes of witches and wicked stepmothers as women in tune with nature’s gifts and fighting for survival under the suspicious gaze of patriarchy. Throughout, the land dwarfs the characters, and a sense of studied quietude saturates even the tensest moments. Tenderness and terror…
A molten extension of Daydream Nation-era Sonic Youth, the Stooges’ drill-press rhythms, and early Dinosaur Jr., Raise should have been made by young record shop rats from the Midwest. Adding to this is a fascination with the open road; only two of the album’s nine songs do not directly reference cars or driving. It’s no real surprise, then, that this Oxford, England-based band found a home on Stateside turntables that were otherwise Anglophobic, despite being pigeonholed as shoegazers. In all fairness, the band was about as exciting to watch as any actual shoegaze band, and Adam Franklin’s vocals were buried deep within the studio and live mixes. (Flying leg kicks, windmills, and eye contact couldn’t have been all that possible with an unwieldy battery…
In the seven-year gap between her second LP, Midnight, and her next album, Stef Chura broke off an engagement, left her home state and roots in the Detroit indie scene for places south, gave birth to her first child, and then eventually returned to Detroit. In the meantime, she headed back to the studio with songs in hand that bear the bruises of someone who has a few hard-won life lessons under their belt but is still trying to make sense of it all. The album was recorded at Chase Park Transduction in Athens, Georgia with none other than the Apples in Stereo’s Robert Schneider, celebrated for his production work with Neutral Milk Hotel, among others. He both produced and played on the album. (Schneider had long been teaching theoretical math…
…remastered by Geoff Pesche at Abbey Road. A 2CD deluxe edition offers an interesting selection of bonus tracks (20 in total) including previously unreleased David Kosten mixes of some album tracks, unheard demos and BBC live sessions and recordings.
Starsailor was already a critic’s darling in the band’s native England during mid-2001, and the group’s painfully melodic debut, Love Is Here, poised the band to rise in the shadows of Doves, Coldplay, and Travis. Starsailor, however, isn’t as polished as its counterparts, but that’s not to say Love Is Here isn’t a beautiful piece of work. It’s less lilting than Coldplay’s Parachutes, and frontman James Walsh’s aching vocals shape his angularity as a singer/songwriter. Starsailor is…
Jimmy LaValle’s The Album Leaf delivers A Body of Voices, his 9th studio LP and the most collaborative, pop-forward project of his acclaimed quarter-century run. Known for nuanced, melodic, and meditative electro-organic music, LaValle has always been a process-driven artist, constantly refining his sound and pushing beyond his natural inclinations. On A Body of Voices, he does that by welcoming the artistry of others on a scale he’s never attempted before.
Nearly every track is a collaboration, with contributors including Aaron Shaw, Aaron Ray, Aisha Badru, Kyle Kidd, Maiah Manser, Aelatan, Nicole Miglis (Hundred Waters), Theresa Wayman (Warpaint), Raphaelle Standell-Preston (Braids, Blue Hawaii), Spencer Zahn…
