Category: indie


Legendary French industrial pioneers Vox Populi! arrive on Dark Entries with a reissue of Sucre De Pastèque. Vox Populi! was founded in Paris in 1981 by Axel Kyrou, a multi-instrumentalist of Greek, French, and Palestinian roots. He soon recruited his future partner, Mitra, and her brother Arash Khalatbari, who were born in Iran and came to Paris in their teens, as well as bassist Fr6 Man (Francis Manne).
Their sound was motley, combining elements of musique concrete and early industrial with horns, flutes, and traditional Persian instrumentation. Improbably prolific and ceaselessly divergent, Vox Populi! found their way onto dozens of cassette compilations during the heyday of the 1980s DIY tape music scene, including releases…

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San Francisco power trio chokecherry is a band that exists squarely within the modern moment. In previous times, you’d meet band members at school, work or possibly through ragged weather-stained notes on the local guitar shop bulletin board. Coincidentally, these were the same way you’d meet romantic partners.
Chokecherry are a symbol of the increasing efficiency of modern existence, in that they met on Hinge. Guitarist Izzie Clark and bassist E. Scarlett Levinson met on the dating app in 2022 but never went on any dates, opting to start a band instead. Ripe Fruit Rots and Falls is the first full-length consequence of that decision.
The band’s sound lives within the loosely defined boundaries of alt rock, but beyond that they…

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…featuring four bonus tracks.
On this, their 10th album, the melodious Mancunians started at the drum kit and built from there. This is no bad thing. The overall effect is wide-ranging, surprising and altogether more uplifting than either the delicious despairing Giants of All Sizes (2019) or gentle, soulful Flying Dream 1 (2021).
We kick off with “Things I’ve Been Telling Myself for Years”, (for instance, “Of course I’ll live to 96 and fix the welfare state”) a self-deprecating piece of analysis that packs in the influences without ever being derivative. As Garvey puts it, “We referenced The Meters, Beastie Boys, Sly and Family Stone, Jimi Hendrix, Arctics, Queens of the Stone Age, Bolan, Tom Waits, Public Enemy and…

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For the first time on vinyl, a lost gem of 90’s garage punk for the darkly inclined. Recorded in 1997 by Greg Talenfeld (Jon Spencer Blues Explosion, Pavement, The Walkmen) and never released before, The Night Has Eyes is a hidden treasure unearthed from the fertile end-of-the-century NYC underground scene.
In Ally Pankiw’s recent documentary, Lilith Fair: Building a Mystery, we’re reminded that Sarah McLachlan’s all-women tour once found itself in the crosshairs of televangelist Jerry Falwell, who condemned Lilith’s proto-feminist folkloric inspiration-and, by extension, the festival’s pro-choice/queer-positive mandate-as a paragon of demonic depravity. If the charges seemed absurd at the time, they’re absolutely hilarious…

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Isobel Waller-Bridge has had a highly eclectic career to date. Primarily it’s involved being a film and television composer, working on her sister Phoebe’s smash Fleabag, Autumn De Wilde’s update of Emma and the acclaimed dark comedy Sweetpea. One of the things underpinning these projects across a range of disparate genres is the breadth of Isobel’s score, suiting both period works, epics and intimate character-driven projects.
This range is apparent on her sophomore record, solo project Objects from the seven-minute opener “Pillow”. It has a cinematic quality to it, easy to picture as part of a score, hauntingly beautiful but never feeling its length, full of depth. “Glass” feels like something from a horror film, with background noise and effects at its epicentre;…

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With his tenth Spotted Peccary release Along the Coppermine Ridge, Rudy Adrian reminds us once again of his remarkable tone painting abilities. A scan of its eleven track titles and those of the album titles preceding it also show the New Zealand-born producer to be an ambient artist who fervently embraces the associative potential titling offers. Eschewing abstraction, Adrian gives his pieces titles that trigger strong visualizations, the latest recording’s “Alpine Tarn,” “Serpentine River,” and “Autumn Snow” three examples. Albums preceding the new one, Reflections on a Moonlit Lake and Beyond the Sleepy Hills, likewise evoke clear images and highlight another aspect of his music, its deep connection to nature. There have been times when Adrian’s…

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…Remastered by Mark Beazley.
‘Will’ might have been released in 2001, but it’s not anywhere near as well known as Grinning Cat. That might simply be because up until that point, Susumu Yokota‘s dancefloor material had been supplied via Tokyo’s Sublime imprint, who released the epochal ‘1998’ and ‘1999’. Having become disillusioned with Japan’s club scene, Yokota handled ‘Will’ himself, putting on Skintone and although it made sense sonically – the release is considered an ode to his loose-limbed Skintone nights in Tokyo – it’s one of his more obscure collections. Listening now, it sounds at times like a speeded up, fattened version of ‘Grinning Cat’, all rickety drum breaks and piano loops. It’s almost like Yokota is challenging himself…

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…includes instrumentals and acoustic versions (plus a new stripped track).
On their first two albums Kit Sebastian — the duo of multi-instrumentalist Kit Martin and vocalist Merve Erdem — hit upon a winning formula. They blended ’60s psychedelia from around the globe with jazz, soundtrack funk, easy listening, and nostalgic pop, then added winsome vocals and catchy, moody melodies played on instruments often unfamiliar to Western music, like oud and saz. Things were working do well that when it came time to record a third album, they didn’t tinker with the approach much.
Maybe New Internationale is a little more focused, taught and more psychedelic in spots? Perhaps a little less jazz and a little more sounds of…

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The history of music is full of artists who have cultivated a certain mythos around themselves and their work. Whether it’s Aphex Twin’s legends of buying bank vaults and driving into parked vehicles in an armoured car, or Sun Ra’s cosmic mythology and claims to hail from Saturn – creating and feeding a lore around yourself rarely hurts.
Enter Elijah Minnelli, a UK dub producer with a studied sense of mystery around him and a story about hailing from a fictional locale called Breadminster – or something. When you strip back the slightly try-hard quirkiness of the image, what you have is a producer creating a highly inventive and often psychedelic take on dub that draws elements of folk and other genres into its heady brew. After a string of singles…

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Traditional music finds its popular, cosy home in the carol, despite the uncanniness that surrounds the nativity story, and the fraying thread back to the past that each winter brings. A veteran explorer of the season (in 2020’s sparkling Winter Rituals EP with cellist Kate Ellis, and 2022’s starker New Christmas Rituals, with amplified fiddle-playing from André Bosman), Laura Cannell sets out on her best and darkest journey yet here, exploring the time of year when, as she writes on the liner notes, “joy and heartache try to exist together”.
Named after the line in ‘Good King Wenceslas’ before the cruel frosts arrive, Brightly Shone the Moon begins at the organ – a nod to Cannell’s childhood Christmases in the Methodist chapels and churches of Norfolk.

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There are many nighttime scenarios that can prompt a click of the play button: Stumbling through the door and into a recliner after an arduous day at the office; getting behind the wheel for a head-clearing cruise on nearly deserted streets; inviting friends old and new home from the first party to start the second party. To celebrate 15 years of smooth, velvety beats, L.A.-based dance label 100% Silk has honored such moonlit scenes with the new compilation Late Shift Silk.
Any one of the 11 cuts on Late Shift Silk could work for activities best suited to the cover of darkness. “To the Window” by Florida’s El Nalgón channels the feeling of late hours starting to loosen sensory perception, the last few moments before the mind welcomes much-needed slumber.

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The Hold Steady is marking the 20th anniversary of their landmark 2005 second studio album, Separation Sunday, with a deluxe new edition arriving on their own Positive Jams label via Thirty Tigers. The expanded release sees the original 11-track album joined by nine newly remastered bonus tracks on vinyl for the first time, including rare demos, outtakes, and four songs previously released as 2005’s internet-only EP, The Virgin Digital Sessions.
“‘Separation Sunday’ changed everything for The Hold Steady,” says frontman Craig Finn. “We found a new lineup, a solidified sound, and through incessant touring started building the THS community that exists today. It was a thrilling time to live through, and to revisit with this new look…

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There are few bands like Sand. Borrowing from jazz, industrial, techno and post-punk, somehow everything is mixed up to produce some seriously bowel-shifting grooves. Their 1999 debut Beautiful People Are Evil sees the York band still working on their formula which had been perfected by the time of 2002 follow-up Still Born Alive.
Sand musically walk the line between different worlds. They have played with, on the one hand, dance artists such as Robert Hood, Patrick Pulsinger, Andy Weatherall and Carl Craig and on the other hand with groups such as God Speed You Black Emperor, Squarepusher , Add N to X and ESG. Sand play diverse live events. They have performed on stage with the Karas Dance Company in Tokyo (where they played onstage with…

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…includes two new, never released songs.
Okkervil River write dreamy songs with slumber-blurred stories and play them with a drifting, somnambulant gait. The band — named for a river outside St. Petersburg, Russia — filled last year’s eye-opening Down the River of Golden Dreams with gentle ballads about beds and war criminals and forgiveness, but the songs on their follow-up EP, Sleep and Wake Up Songs, are more brittle and fragile, like a light sleeper’s snooze. The EP condenses the album’s best qualities and discards most of its weaknesses, and its brevity makes it all the more emotionally forceful.
“Rapt, in Star Wars sheets/ With my hand across your belly/ We waded through the watercolor,” Will Sheff sings on opener “A Favor”. The song…

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Not much is known about the elusive Dove Ellis, but we do have three concrete facts.
One: he’s an Irish singer-songwriter. Two: new-gen rockstars Geese are confirmed fans, with the band inviting him as their sole support act for their North American tour. Three: anyone who listens to Dove Ellis can attest he has one hell of a voice. And with the release of his debut album Blizzard, Dove Ellis delivers on the hype that’s followed on his steady gigging since 2022.
Compared to his larger-than-life live performances, Blizzard is eerily intimate. It’s bedroom pop, if the bedroom was a French catacomb with the tunnels blocked up. You feel every crack in Ellis’ voice, and songs like ‘Little Left Hope’ expand his voice into a ghostly choir that’s…

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After lending her versatile skills on stringed instruments (guitar, charango, violin, koto, etc.) to the alternative music scene of Iceland for some time, Ólöf Arnalds released her first solo album, the spare, delicate, and maybe a little magical Við og Við, in 2007. Over the next seven years, the elfin singer/songwriter delivered three more albums that were increasingly expansive, with electronics, electric guitars, and drums contributing to the fanciful, part-acoustic alt-pop of 2014’s Palme. A decade-long break from recording followed during which time, among other endeavors, Arnalds worked as a copywriter, raised her kids, started an artist-led cultural space in Reykjavík (Mengi), and married frequent collaborator Skúli Sverrisson. When she finally returned to…

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…includes the original 11 tracks plus two additional songs, “Muck” and “Don’t Swerve”, and a stripped version of “Back In Town” featuring Samia.
When you first get noticed for performing deeply personal songs on your guitar on TikTok during a pandemic, there isn’t a clear next step.
This is what Annie DiRusso has been facing since she broke out at the age of 21 in 2021 with singles like “Coming Soon” and “Nine Months.” Since then, she’s put out an EP and toured extensively — supporting artists like HAIM and beabadoobee — but only now is DiRusso releasing her first full length. Why did it take so long? From the sound of it — both musically and in the album’s title Super Pedestrian — it’s because DiRusso chose to walk, not run.

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…includes four additional tracks including two brand-new songs, ‘Love You Like a Rainbow’ and ‘Different Next Time’.
Oh! The Ocean, the sixth LP by The Wombats, was inspired by a shitty morning, a brilliant beach view and an almost drug-like spiritual awakening.
“There was this revelation that I had been living a life caught up in my own head, or in some kind of racing helmet or with blinkers on,” said frontman/guitarist Matthew Murphy reflecting on the album’s genesis. “It was really a potent experience. I felt like I saw everything new for the first time, and was aware that I had been so selfish to not take in how crazy the world and life is.” That epiphany led to what is arguably the band’s most ambitious and melodic record in their two…

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