Category: indie


Lauded on release as Stornoway’s most expansive and confident work, Bonxie remains a hymn to connection, ecology, and the beauty of life. This expanded edition includes previously unreleased B-side tracks from the original recording sessions, as well as some of their well-known unplucked versions of tracks on the album.
Bonxie is Stornoway’s boldest and most outward-looking record, an album infused with a sense of wonder for the natural world and humanity’s place within it.
Produced by Gil Norton (Pixies, Foo Fighters, Echo & The Bunnymen), with a contribution from Craig Potter (Elbow), the songs are studded with field recordings of birds (20 species appear across the album), weaving them into melodies…

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Damaged Goods is proud to present re-issues of one of thee great collaborations of our times…
Thee Headcoats Sect is the inevitable intersection of two generations of mad-hatted Punk R & B misfits with musical and philosophical lineage that can be traced back over more than 30 years. The Downliners Sect were among the country’s foremost rhythm and blues groups, their most prolific period being the years from 1964 to 1966. As is often the case, they were denied the sort of success they deserved – they were outcasts, too young, too uncouth, and just a tad too eccentric to be accepted by their peers. As the Melody Maker said of their debut album in 1964: ‘forget this one if you want a Happy Christmas, and don’t want to drive all the guests away from your party’.

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…includes two bonus tracks “Sittin’ Here (Karizma DJs Dub) and “Sittin’ Here (Peacey Remix).
Coming 15 years after he dazzled the world with his jazz-house album Tourist, Ludovic Navarre returned to his St. Germain moniker with this self-titled 2015 effort, the self-titling being a signal that the project was reborn. It is, at least partially, as rare groove jazz has been replaced by music from Mali, West Africa, along with blues and funky jazz guitars from around the world.
In the case of the highlight “Real Blues,” it is a Lightnin’ Hopkins sample that supplies the blues, while Navarre does his usual — and intoxicating — light house shuffle underneath. Many of the cuts here sound like an Amadou & Mariam release that’s constantly segueing into…

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…Longtime collaborators Jacques Greene (Philippe Aubin-Dionne) and Nosaj Thing (Jason Chung) are officially stepping out as a duo with a self-titled album centered on collaboration. “Trust is the key word and concept around this project,” says Aubin-Dionne. Verses GT isn’t just an album, it seems, but an immersive audiovisual experience (live shows, music videos, light displays — “an all encompassing banner for a new collaborative world,” trumpets their Bandcamp) painstakingly crafted across a bevy of glamorous metropolises in hot pursuit of that elusive little thing called vibe. It’s a risky proposition: A concept like this can feel a little overwrought, a little too “creative”-as-noun, a little for sale, Wales Bonner Sambas, never worn. But Aubin-Dionne and Chung are…

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Works in Metal is alchemic in its offering as Lamin Fofana’s pursuit of difficult meanings come to the fore yet again. Fofana sets about the arduous process of reworking and reshaping metals, seeking long-awaited transcendence from what writer, teacher, scholar, anti-colonial, feminist activist and Surrealist Suzanne Césaire refers to as the “sordid contemporary antinomies: Whites-Blacks, Europeans-Africans, civilized-savage”. Works in Metal seeks to destroy such paradoxes and damning self-beliefs sonically through sound archives, field recordings and unique production methods as a tribute to Césaire’s prophetic writing.
‘Arc’s Blues Flame’, the album’s opener, is dominated by high synth tones and occasional kick drums suggesting a vastness, equally…

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Since 2006, the singular Toronto rock ‘n’ roll institution Fucked Up have been releasing a series of long, sprawling, ambitious records named after years of the Chinese Zodiac calendar. Over the next year, they will finally complete that project, releasing the three final Zodiac records as an ongoing series that’ll eventually make up a five-LP series called Grass Can Move Stones. The first of the three installments is called Year of the Goat, and it was supposed to come out next week. Instead, it’s up on Bandcamp today, presumably for Bandcamp Friday reasons.
There are two tracks on Year of the Goat, and they’re about a half-hour long each.
…There’s a whole lot of lore to Year of the Goat, which is apparently just one part of…

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Konk If You’re Lonely: Fat White Family live at Konk Studios is the latest instalment in the Domino Documents series, an album featuring Fat White Family’s most incendiary moments recorded live in one day at London’s Konk Studios. The Fat White Family cast has forever been a revolving door of interesting and lively characters, each iteration brilliant in its own right, but they have never sounded better than on the 13 career-spanning tracks that make up Konk If You’re Lonely.
Fresh off the back of the trio of triumphant “Counter-Vortex 360°” shows at London’s Colour Factory in December 2024, the band decamped to Konk Studios to get the set down for posterity’s sake. What emerges is a document of a band at the top of their game, oozing swagger…

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Beggars Banquet has opened the archive once again, letting a familiar duststorm roll through the room as Fields of the Nephilim’s Dawnrazor rides again.
The timing feels almost fated: the UK band will soon carry their peculiar strain of Gothic Americana and occultism back into the West for the first time in years, appearing in Houston for Dark Ceremony in April 2026. For a group whose entire aesthetic grew out of Sergio Leone’s Spaghetti Westerns—that widescreen collision of dust, danger, and myth, their return out West lands like a vision completing its long arc. With that rare appearance on the horizon, this remaster sharpens the album’s grain, tension, and frontier grandeur back into present focus.

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The remastered 20th-anniversary edition includes the original 16 songs plus five archival bonus tracks, featuring session tracks, rarities, and B-sides, some receiving their first official release.
No dead baby jokes about Pete Doherty‘s so-called shambles; no talk of coke-habits and skin-and-bones supermodel girlfriends (except as back-up vocalists): Down in Albion is the opposite of Up the Bracket, and not just for prepositional reasons. Departing from the Libertines’ work by slowing-down, shaping-up, Down in Albion doesn’t out-do Up the Bracket‘s gritty unruliness (and the less said about the self-titled follow-up the better), but doesn’t flop as self-indulgently/destructively as it could, either.
Doherty appropriates William Blake’s Albion…

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As one half of Brooklyn-based duo Water from Your Eyes, Nate Amos makes left-field pop that feels hypermodern: wry, memey lyricism; post-ironic genre-hopping; the kind of jilted chaos and tonal jumble that characterises a social media feed. Yet the band had actually been plugging away for seven years before their 2023 breakthrough.
Amos’s solo project This Is Lorelei has been going even longer, only gaining proper traction with last year’s belated debut album Box for Buddy, Box for Star.
Now Amos is capitalising on this recent momentum with another release, this time a compilation of re-recorded songs dredged from his extensive Bandcamp back catalogue. Unlike his WFYE output, these tracks are mainly…

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…remastered by Geoff Pesche at Abbey Road.
After breaking through to massive U.K. fame with his 1979 album The Pleasure Principle, and its chart-topping new wave isolationist anthem “Cars,” Gary Numan got darker, more intense, and more solemn on his second proper solo album, 1980’s Telekon. The shifts in his work were happening quickly, with both Replicas (the last of two albums Numan made with his punkier group Tubeway Army) and The Pleasure Principle being released in 1979, and the songs for Telekon being written and recorded by the end of that year, but held back for a release in September of 1980 as not to flood the market. Telekon was, in part, Numan’s response to overnight success, with songs that alluded cryptically to conclusions and…

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At its most accessible, Oneohtrix Point Never‘s music is instantly recognizable, yet often difficult to comprehend, to understand, to accept.
The brainchild of Daniel Lopatin, Oneohtrix Point Never’s albums are a painstakingly assembled potpourri of sounds and cuts, the complexity of the composer’s experimental, sample-and-MIDI-based works often contradicted by the material he embraces (TV commercials and ad jingles, dialogue, library music, esoteric film soundtracks, Top 40 radio). It’s reflexive and responsive, the sounds — repurposed and filtered through VSTs and synths — reframed as collage.
Although he’s gracefully toed the line between the underground and the mainstream, collaborating with some of the most popular…

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Listening to an Asher White record, you get the sense that she approaches songwriting like an interior designer. She treats her songs like rooms she can move throughout, rearranging their furniture — pushing the couch from one corner to another, angling a chair ever so slightly in a different direction.
“The sink thank you,” which opens her latest album, 8 Tips for Full Catastrophe Living, comes together like move-in day, starting as an empty room with nothing but some muffled, tentative strings before other additions begin to fill the space: slot machine sound effects, snare drums, faraway chimes, a thumping bassline, keys that sound straight out of Fiona Apple’s “Valentine,” a smattering of handclaps; until finally, White’s…

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Instrumental album from 1983! Having endured no less than three long-players and a brace of singles featuring the caterwauling of Messrs Hampshire and Childish, the Milkshakes’ audience figured it might be time for an instrumental outing. In response the group gave them just that.
But this was to be no run-of-the-mill effort – no Dick Dale-esque surf marathons or Shadowsy twangers are apparent here. These tunes are more rhythm and mood based compositions; occasionally leaning more towards the Link Wray end of the spectrum – as you would probably expect. This IVth album (hence the name) was recorded in 1983 at Oakwood Studios – as were all previous releases – but this was the first in their new facilities in a converted church near Canterbury…

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Live at the Bayou showcases some of the earliest live performances from Bad Brains, and pre-dates the band’s 1982 self-titled debut. A snapshot of the band’s burgeoning beginnings, these previously unreleased recordings from 1980 and 1981 recorded at The Bayou in Washington DC, were captured between the band being unofficially “banned in DC” and relocating to NYC – a historically significant time in the band’s career. This is the first non-jazz release by the newly formed Time Traveler Recordings.
Record Store Day habitues have known and loved producer-archivist Zev Feldman for the almost exclusively jazz projects he has drawn out of secret archives for Resonance and other labels focused on that genre. But he’s always sworn he was…

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What to make of the band that HEALTH have become? To keep up with them these past few years has been an often-dizzying endeavour; they’ve collaborated with everybody from Poppy to Nine Inch Nails, and undulated between refining their punishingly loud brand of industrial noise rock and attempting to tear apart its very esence at the seams by pushing it into uncharted territory – melodic one minute, avowedly experimental the next. Add to this that they’ve carved out what they describe as a “coalition of subcultures” in a fanbase, incorporating everybody from terminally online meme-botherers, to gamers, to enlightened true believers in the Los Angeles trio’s self-described brand of “cum metal”, and you wonder whether there’s another band quite like them.

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It’s right there in the name: Thee Reps are passionate about repetition. They hammered the point home on their debut cassette, Minimal Surface. A half-decade later, substantial compositional growth has enabled the NYC-based five-piece to deepen and broaden their approach to music-making.
With Cryptocartography, repetition is now in service to the structure of Thee Reps’ songcraft. They’ve plunged deeper into the sea of iteration and have searched out new waters to explore. Improvisation and chamber music are even more prevalent than before, and the minimalist nests of repetition are even more elaborate. The album’s title alludes to mapping locations that are only rumored to exist; on Cryptocartography Thee Reps’…

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Mysterious UK-based producer U’s practice qualifies as folk music inasmuch as it is music that has folklore as its primary subject. Quantitatively speaking, though, the remit of his new album Archenfield is wider and more ambitious. U has previously embraced the jagged edges of post-punk and cold, glitchy electronics, but here he leans heavily into ambient, field recordings and plunderphonics to create a detailed folkloric map of Archenfield, a rural region in Herefordshire with a long and at times turbulent history.
Opening track Urchins employs a simple, repeated piano melody on crackling vinyl. It evokes those age-old hauntological themes of distance, time, memory and decay. But just when you think things are wandering unequivocally in…

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