…Working, for the first time, under her given name rather than the usual moniker of Ale Hop, Alejandra Cárdenas shapes A Body Like a Home and the book of poetry that accompanies it in the form of a memory palace, fills its rooms with generational wounds, then gives each of them their own voice, reciting poignant verses over a porous fabric of electronic timbres, electric guitar, field recordings, and Mexican musician Gibrana Cervantes’s violin drones.
“What is the point of remembering, let alone recording life?”, Cárdenas ponders on the opener ‘On Memory’. Her voice is soft but laden with weariness as she reflects on histories and the cruelty of those who get to write and erase them. “Somewhere, you and I, we met in…
Category: indie
The first Voices from the Lake album has taken on a mythical status, like a Selected Ambient Works 85-92 for the Berghain generation. Donato Dozzy and Neel, already masters of trippy, ambient-leaning techno (once called “headfuck techno”) on their own records, hit on some kind of flow state when they made their collaborative debut LP. This was a cerebral style of techno that sounded like it grew out of the forest floor, where rustling leaves and padding paws took the place of kick drums, and chords moved like swaying branches and trees. Since that album, as good a full-length as the genre has birthed, everything attached to the Voices from the Lake name — EPs, a live album, the occasional remix, celebrated live sets — has strengthened their reputation. With II, the duo…
Peals — the Baltimore-based ambient duo comprising William Cashion (Future Islands) and Bruce Willen (Double Dagger) — released the digital reissue of Seltzer, a rarity previously available only as a 2015 limited-edition cassette. Far removed from the high-energy bombast of their primary rock outfits, Peals focuses on intimacy, loops, and texture. Seltzer serves as a time capsule of the duo’s prolific 2013–2014 period, capturing the “fermentation of improvisation” that would eventually lead to their sophomore LP, Honey.
The release is structurally fascinating. While Side B, “Before and After,” acts as a seamless mixtape of home experiments, Side A documents a unique site-specific collaboration with multimedia artist Zoe Friedman inside Baltimore’s…
Well, this is a surprise. Not so much that the Sunderland band should do a Christmas album, mind. Despite their raw and spiky hardcore framework, which channelled heavyweights like Gang of Four and Fugazi, they were always capable of being gentle, dreamlike, flirting with but never tipping over into the whimsical, as on their huge breakthrough cover of Kate Bush’s “Hounds of Love”. And maybe even more relevantly, their harmony singing bordered on the choral from the start, something made explicit on their a capella reworking folk songs and their own work on their 2012 Rant album.
No, it’s not a surprise that they’d do this, or do it well. But it to be this good? For the pacing, the fit of the arrangements to the songs, the ability…
There’s a particular brand of madness that occurs when an artist gets bored of their own tricks. Jake Brooks didn’t experience some dark night of the soul; he just got sick of guitar and ran out of cassette tapes. Sometimes the most radical artistic shifts have the most mundane origins, and Factory Reset, Retail Drugs’ third full-length record in fifteen months, is what happens when rage gets funnelled through a laptop instead of a four-track: the sound of someone taking an industrial drill to a server room mid-breakdown.
The album imagines a near-future where you can erase your past self. “Which I guess you can kind of do on the internet, sort of,” Brooks notes with characteristic understatement. This dystopian premise hangs over the record’s…
If you have never listened to or heard of Beans On Toast before, thinking of it as only an absolutely delicious evening snack, then you are not far off the mark. Beans On Toast is the stage name of Essex-born folk singer Jay McAllister. Since 2009, on the first day of December, an early Christmas present drops on the mat, and this year is no exception.
Kill Them with Kindness was recorded at the Greenmount Studios in Leeds with a full band. It’s a thoughtful collection with a host of social commentary throughout. However, it still features the humorous, playful lyrics that Beans On Toast excel at — songs about travelling, meeting new people, Tequila drinking, Cats, Shrewsbury and even Taylor Swift.
The opening salvo, ‘The Great North Road’, is…
Maxi arrives hot on the heels of 40 – a commemorative reflection of The Wedding Present’s complex and fascinating catalogue across four-vinyl and four-CD formats, with the compilation’s final track being ‘Hot Wheels’ – a track from Maxi.
Although Maxi follows the same concept as Mini, the 2025 model of The Wedding Present’s vehicle is discernibly grander, with Gedge hinting that guitarist Rachael Wood – who was new to the band at the time of writing – might be one of the reasons why. ‘Scream, If You Want To Go Faster’ – the opening track – mesmerises with a slow-building, post-rock feel before it revs up to set the EP’s tone and flows into the infectious riff of ‘Grand Prix’ – itself driven forward by the complexities of Wood’s playing.
From a very early source tape, “Apparition” has been given the sonic overload it desperately deserved and even boasts a couple of bonus tracks from the time.
The Legendary Pink Dots are an influential, staggeringly prolific group led by enigmatic frontman Edward Ka-Spel. Emerging from the early-’80s post-punk underground and sometimes categorized as industrial due to associations with bands like Skinny Puppy, the group’s music is nearly impossible to pin down, drawing from Krautrock, ambient, folk, synth pop, and numerous other styles.
Apparition originally came out in 1982, the same year as their album Brighter Now. The first edition was a cassette only on the band’s own…
…deluxe 3CD set include 19 extra tracks – focusing on lesser-known B-sides, late ’80s and early ’90s albums, and even material that Tom Bailey and Alannah Currie released in the ’90s under the name Babble – along with the premiere CD release of ‘Into the Gap Live’, the audio of a longform video release from 1984 that was recently issued on vinyl for Record Store Day.
The 1980s were heady times for synthesizers and drum machines. Ushering out the distorted three-chord guitars and traditional drum/bass/guitar lineups of the punk and stadium era rock of the decade that preceded it.
New Wave bands like OMD, Human League, and The Pet Shop Boys created a dance-friendly genre that was light on sneers and anger but…
Formed in North London, Madness have grown into one of Britain’s most successful and best-loved bands, selling millions of records worldwide and inspiring generations of artists. More than four decades on, their music, spirit, and style are woven into the fabric of British culture.
Madness released their latest record Theatre of the Absurd Presents C’est La Vie in 2023, which was the band’s first ever No.1 studio album in their 45 year career. The band have also had two No.1 compilation albums, 10 UK Top 10 albums, 15 Top 10 singles and have won a multitude of awards including a prestigious Ivor Novello.
Hit Parade celebrates that remarkable legacy, a career-spanning anthology, the band have chosen 45 singles from 45 years from…
Over two sides of an LP, Ensamseglaren takes us along paths of genteel jazz, intriguing experimentation, thunderous doom, and brassy sighs capable of breaking your heart. With her 12-strong ensemble, reassembled after a five-year hiatus in order to help work through the grief of losing her father (the lonely sailor to whom the album title alludes), Anna Högberg has transcended any clichés about getting the old band back together. Their collective expression, their artistry, their simply being with one another, proves itself to be a viable method for processing the chest-hollowing feeling of parental loss.
‘Ensamseglaren / Inte Esam’ begins with gentle tapping, scraping, and a gloopy suction sound. Rain disturbs a window, and a rope appears…
For around a decade, Philadelphia’s Camae Ayewa has been constructing sonically experimental and thematically radical works of art. As Moor Mother, the musician and poet’s art often offers searing takedowns of structures of oppression and on the imperialism, colonialism and brutality that has resulted in generations of Black trauma. She delves deep into this on her 2019 album Analog Fluids of Sonic Black Holes, the sense of widespread socio-political discontent illustrated by the record’s brutal, auditory chaos. Now, in her latest release, Moor Mother reissues that same album as a brand new orchestrated edition, featuring the string quintet Wooden Elephant and The Beethoven Orchestra Bonn, conducted by Dirk Kaftan, once again blurring the boundaries…
With their latest EP, the four-song A Brief Intermission in the Flattening of Time, Spanish Love Songs adopt their roomiest and rangiest perspectives to date. Though clocking in at only 14 minutes, the project follows a cogent arc, as the band and various guests, including Kevin Devine and Illuminati Hotties’ Sarah Tudzin, traverse the tundra of disillusionment and egoic right-sizing. Unsurprisingly, Brief Intermission, like 2023’s No Joy and 2020’s Brave Faces Everyone, brims with distinct earworms.
On “Lifers Too”, Slocum articulates anger (at his parents’ generation), guilt (about the actions of his own generation), fear (for the entire species), and apathy (as a result of being thoroughly overwhelmed). In Springsteenian…
Kyle Hamlett haunts the eerie corners of Americana, but he does it with a sideways grin. His songs jitter gleefully amid spectral harmonies, gothy but also celebratory, like a skeleton dancing a cakewalk across a stage. Hamlett fronted Nashville’s Lylas in his younger days and has, more lately, recorded with pedal steel phenom Luke Schneider. This album is a solo effort, though the artist draws support from a range of Americana players. A good bit of the late Justin Townes Earl’s backing band turns up to play here: Joe McMahan on guitar and a range of exotic instruments (cavaquinho! Kalimba!), Adam Bednarik on bass and Bryan Owings on drums and percussion.
Song’s like “Fool’s Moon” set up a twitching, skittering tension in the picked guitars, but…
Carson McHone begins 2025’s Pentimento with the sounds of birds chirping outside and McHone reciting the words of Ralph Waldo Emerson, as they appeared in a letter to Margaret Fuller. Neither of these things necessarily define McHone’s creative approach on Pentimento, but their presence speaks volumes about how this LP differs from her previous work. There’s a musical and lyrical intimacy in these songs and performances that sounds natural and unforced, and she is clearly not wary of letting her poetic sensibilities take the lead in her writing. According to McHone, nearly all the songs on Pentimento began as poems before she struck on the idea of setting them to music, and while the words mesh comfortably with the melodies, much of this album…
It’s fair to say the past decade has brought some challenges for Swedish singer-songwriter Marlene Oak. Ten years ago, she got the difficult diagnosis of Bipolar Disorder Type 2, then just a few years ago she experienced an episode of severe psychosis, something she described as “terrifying”, leading her to question her own reality and even fearing there was a demon inside her.
Understandably, it took her some time to recover, but even whilst still feeling fragile, she felt compelled to turn her trauma into art, and with Peter Morén, she co-wrote and produced what would be Welcome to Oak Land.
“I thought I always knew / What I wanted to do / Now I’m split up in two,” Oak sings on the album opener ‘Threading a Fine Line’, no doubt…
…featuring new interpretations, rare B sides and unreleased archival gems.
Rivers of the Red Planet, the new LP from Berlin upstart Max Graef, hearkens back to an era when the album served the fundamental statement of a musician’s aesthetic. This is in no small part due to the young producer’s diverse ear. Graef has been making waves in the underground house world, but as he recently told, he spends most of his money on old records he can’t play in clubs. Rivers, meanwhile, was originally conceived as an instrumental hip-hop album. It has a loose, smoky feel that owes as much to beatmakers like Madlib or J Dilla as it does to any house producer. A casual synthesis of dusty jazz, hip-hop and house, Rivers speaks to Graef’s formidable talent.
Julian Cope’s Head Heritage label recently unearthed another entry in its “Ambient Autumn” series: the archival release Now That I’m Different by the experimental project Queen Elizabeth. Spanning recordings from 1990 to 2005, this album is less a traditional musical experience and more a raw, immersive sonic artifact.
For those accustomed to conventional structure, this collection of drones and “near-music-concrete” will prove challenging. The tracks are rough-edged and often ramshackle, prioritizing texture and atmosphere over melody or rhythm. Imagine archaic, distressed sounds wrestling with the occasional, unexpected presence of a string quartet or the organic ur-drone provided by guest artist Stephen O’Malley of SunnO))).
