Fabiano Do Nascimento is not simply sticking to his Brazilian roots. After all, he currently has a split residence between Los Angeles and Japan, trying to include all his experience and form them into a specific whole on his latest album offering Cavejaz. Primarily a guitarist, he uses various multi-string and multi-tuning (nylon string) guitars, stretching the sound of his instrument as far as it goes and in any direction it takes him, while at the same time trying to firmly root his sounds into his Brazilian heritage. For Cavejaz, Do Nascimento organised three separate sessions – one as studio sessions with renowned UAKTI member Paulo Santos and Jennifer Souza back in Brazil, while the second was recorded live during a Tokyo concert with with veteran Japanese musician…
Category: indie
You might not recognize the name, but Joel Cusumano has been in a long list of Bay Area power pop bands, including Sob Stories, R.E. Seraphin and Body Double. This is his very first solo album, after an extended career as a sideman, and it’s a good one, brash and self-revealing, rocking out with windmill chords and pinch squalls, but beckoning with melody.
“Two Arrows,” for instance, dives headfirst into the maelstrom, on rocketing drums (that’s Phillip Lantz from Neutrals) and careening guitars. It’s a look askance at romantic love, a recognition that those arrows will likely hurt when they hit, or as Cusumano observes, “The gods will slice the membrane, just for their entertainment.”
Interviews suggest that Cusumano wrote…
The Gold Rush: The Songs of Neil Young features 15 of Young‘s classics and deep cuts reinterpreted exclusively for Uncut in tribute to Shakey’s 80th birthday.
There’s some ragged, glorious rock from Kurt Vile & The Sadies, J Mascis, Alan Sparhawk‘s Tired Eyes and MJ Lenderman & The Wind; there are tender ballads from Bonnie ‘Prince’ Billy, Joan Shelley & Nathan Salzburg, Drive By Truckers‘ Mike Cooley, and Sharon Van Otten & The Attachment Theory; and there are wilder, more experimental versions from Orcutt Shelley Miller and Spencer Cullum’s Coin Collection.
Plus it all kicks off with a stunning 8-and-a-half-minute “Ambulance Blues” from Phosphorescent.
Chicken Rhythms (Expanded Edition) features radio edits as well as new remixes from pop-music veterans The Reflex & Leo Zero. Produced by The Lightning Seeds’ Ian Broudie (Echo & The Bunnymen, Shack, The Coral, Texas), their album released in 1991 and peaked at number 19 in the charts.
Northside was a minor-league player in the Madchester field of all-stars. Formed in Manchester, England, in 1989 by Warren Dermody (vocals), Michael Upton (guitar), Cliff Ogier (bass), and Paul Walsh (drums), Northside had the backing of the indomitable U.K. indie Factory Records, but musically the band wasn’t as ambitious as its peers the Stone Roses and the Happy Mondays. In fact, the British press accused the group…
Peter Baumann (formerly of Tangerine Dream) also played an important role in Consequenz III. As so often before, Baumann generously provided Schnitzler and Seidel with studio space at his Paragon Studio. The recordings for this album were the immediate continuation of “Con 3”. Seidel’s additional drums and percussion were still being set up, Schnitzler’s Korg MS 10 and the obligatory sequencer were still warm – and another recording session began straight away. There seemed to be enough time to finish an album. Baumann’s Paragon Studio was a veritable El Dorado. Although Schnitzler and Seidel used their own comparatively modest setups, here they had access to highly professional recording equipment and an acoustically ideal recording space.
Old Saw conjures the ghosts of Americana, wrapping guitar-picking, banjo plucks, pedal steel whine and violin cries in ambient drone. The music hovers, envelops, levitates rather than moving forward. It’s drenched in overtone, which lends a mystic, other-vibrations aura. These are old time instruments bent towards alternate universes.
Old Saw is Henry Birdsey’s collaborative project with a septet of (possibly fictional) backwoods Vermont players: Harper Reed on nylon string guitar and banjo, Ira Dorset on fiddle and bowed strings, Ann Rowlis coaxing prolonged drones from reed organ and harmonium, J.M. Eagle on pedal steel, lap steel and resonator, Jim Cutler on telecaster, Addison Starkweather-Price on bass and Peter Catchpole clanking metal objects and…
Teaming up again with Swedish drummer Uno Bruniusson, CV Vision switched up the last production approach and opted for a return to previous studio methodologies. “I wanted to get a rougher sound on this record,” he says. “I dug out my two broken reel-to-reel tape machines, and patched them together, like Frankenstein. That’s what gels everything really – there’s different musical styles, but it’s the tape machine that brings it all together, sound-wise.”
Release the Beast does indeed fly off in several directions over the course of fourteen tracks, and gives us an insight into the full spectrum of the CV Vision musical universe. Fuzzed-out backbeats and psych progressions establish the opening tracks, as the sweet harmonies of ‘RTB’ and ‘The Rhythm’…
When Clark branched out from his electronic roots on Playground in a Lake and Sus Dog, he earned plenty of rightful acclaim. However, anyone concerned he’s ventured too far from his foundations will welcome Steep Stims, a reminder that he’s just as adept at making powerfully original music with a few well-chosen pieces of gear as he is with strings and a choir at his command. In this case, it’s a late-’90s model of the Access Virus synth that was a staple of the era’s dance music. Though Clark tweaks it to his own liking, the heyday of rave and trance still echoes in its brassy and stringlike tones. On “Janus Modal,” that signature sound is joined by an oompah-like bass and mewing lead synths borrowed from acid techno, and as it pivots from…
Denna berättelse åtföljs av bilder was created following an invitation (from curator Patrik Haggren at Göteborgs Konsthall) to artistically respond to Jonatan Pihlgren’s exhibition Vargtimme. The foundational sounds were generated by converting photographs of Pihlgren’s artworks into audio using the software JPG to WAV Converter. These sounds were supplemented with field recordings from the exhibition space.
Additionally, a poem was written and recited at the end of the performance. In the poem (included with this cassette), I drew from my associative notes from the exhibition visits as well as fragments from the script of Ingmar Bergman’s film The Hour of the Wolf, which served as a kind of subtext to the exhibition.
In the early 1970s San Diego was a sleepy Southern California Navy town on the Mexican border and a seemingly unlikely gathering point for some of the most innovative, unclassifiable American artists of their era. Yet the presence of Harry Partch – hobo composer, iconoclast and inventor of instruments such as the Harmonic Canon and Quadrangularis Reversum – and a newly established and highly experimental music department at the University of California San Diego (UCSD) ushered in a revolution that was as much social as it was musical. Drawing from the occult, self-realization and radical political movements of 70s Southern California, these artists sought to dismantle the established control systems of American life, looking to the future even as they sometimes referenced a distant…
The music heard on Kara-Lis Coverdale‘s album Changes in Air originated from an installation at a floating sauna in Oslo called Skarven. The pieces are inspired by five materials (wood, water, sun, glass, and metal) and were originally composed and recorded in 2019, then finished in 2025, when the album was released.
While From Where You Came, the first of Coverdale’s three 2025 LPs, was an expansive, collaborative work, and A Series of Actions in a Sphere of Forever was a series of solo piano nocturnes, Changes in Air is somewhere in between. It was composed and played by Coverdale alone, using electronic organ, modular synthesis, and piano, and it contains longer pieces which flow into each other, subtly evolving.
Finnish composer, multi-instrumentalist and producer Jimi Tenor celebrated his 60th birthday in 2025 by touring and releasing three albums. In March, he released Sinus Amoris in collaboration with Freestyle Man, July Blue Skies appeared in April with Finn soul kings Cold Diamond & Mink, and Selenites, Selenites! arrived in November as the debut album by the Jimi Tenor Band. The latter was recorded at two studios: Electric Avenue in Hamburg with producer Tobias Levin, and at Kiikala Center of the Universe Studio Complex in Finland (a remote house) with producer/guitarist Lauri Kallio. These eight songs have various styles but are guided by optimism as an aesthetic. Selenite is a soft, translucent variety of the mineral gypsum, named after the Greek moon…
SAD is Ikonika‘s first Hyperdub full-length in eight years, though the artist did release EPs and digital albums in between. As with other Ikonika albums, SAD draws from a different set of influences than the producer’s other albums, and it also reflects changes in their personal life.
They came out as queer and trans, were diagnosed with autism, and also became a parent; a young child’s voice playfully sings along at the end of “WHATCHUREALLYWANT.” Through queer community, Ikonika became more interested in African dance music styles such as amapiano, gqom, and bacardi, while also revisiting music from their Egyptian heritage. Perhaps the biggest update to Ikonika’s sound, however, is the addition of vocals, and more of a focus…
Remastered from the original source tapes for the first time, this edition includes the original album, bonus tracks, home and studio demos (from 1978-1980), and early live tracks.
The Durutti Column’s debut album does not have an auspicious origin story. The band whose name it bore had split acrimoniously just before they were supposed to record it. Their guitarist Vini Reilly was so poleaxed by depression that he was virtually unable to leave his house: 12 different attempts were made to section him over the course of 1979. Believing that Reilly was “going to die”, Factory Records boss Tony Wilson intervened, buying him a new guitar, then suggested he visit a studio with the label’s troubled but visionary producer Martin Hannett as “an experiment”.
Formed in 1987 by Fruitbat and Jim Bob, Carter The Unstoppable Sex Machine burst onto the scene with their signature style of punk-pop infused with samples, drum machines, and social commentary.
Released in 1995, Worry Bomb was Carter USM’s fifth album and their fourth in a row to break into the top ten of the UK album charts. It would also be the first to feature their new drummer, Wez, marking a shift away from the famous drum machine sound.
The album mixed things up musically, balancing mellow acoustic tracks like ‘My Defeatist Attitude’ with Carter’s signature high-energy indie rock, including ‘Let’s Get Tattoos’ and ‘The Young Offenders Mum’ which both hit the UK top 40.
To mark the 30th\u202Fanniversary…
Released exclusively for Record Store Day Black Friday 2025, Avon Calling! captures the band in full flight, raw and raucous at 1994’s Phoenix Festival. The set finds Carter firing through classics like ‘The Only Living Boy In New Cross’ and ‘Sheriff Fatman’, fresh cuts ‘Let’s Get Tattoos’ and ‘The Young Offender’s Mum’, alongside a cover of Buzzcocks’ ‘Everybody’s Happy Nowadays’.
Equally revered and despised in their native England, Carter the Unstoppable Sex Machine has been on the cutting edge of the U.K.’s dance-pop scene since their first hit single in 1989. Instead of following the disco-derived pop songs of the Pet Shop Boys, Carter relies more on the underground club/dance scene, bringing such techniques as spoken word samples, drum and riff samples…
47Soul’s Shamstep EP ignited their Electro-Arabic Dabke revolution in 2015. Now it returns with remixes from some of the Arab world’s most forward-thinking producers-Molotof, Toumba, and Hello Psychaleppo-bridging past and future.
47Soul single-handedly sowed the seeds of the Shamstep genre. The Palestinian musical collective formed in Jordan in 2013 with Tareq Abu Kwaik, Ramzy Suleiman, Walaa Sbait and Hamza Arnaout taking influence from hip-hop, electronica, and R&B and melding it with the sounds of Dabke, a traditional folk dance, and other Shaa’bi roots music from the Levantine region.
Shamstep, their groundbreaking debut EP released in 2015, not only helped coin the genre’s name but also brought a new audience…
…a newly remastered edition, expanded with two brand-new compositions reimagined from the original audio files: ‘Claustrophobia’, reworked by Carter, and ‘Uncaged’, reworked by Boddy.
In 2000, Ian Boddy founded the DiN label “to (purvey) fine contemporary electronica.” He is also the label’s chief artist.
Caged is a collaboration between Boddy and Throbbing Gristle’s Chris Carter. It is a dense mix of sequenced e-music, heavy rhythms, and vast atmospheres. One of Boddy’s strengths has always been his willingness to try something different and to learn new methods, techniques, and sounds. He allows Carter’s dense atmospheres to augment the overt Berlin school sound.
So, while this definitely has all the characteristics…