Category: indie


The title of Charlie Kaplan’s latest album stems from an episode involving his father, who was being visited in the hospital by a longtime friend. When his friend laid his baseball cap on Charlie‘s father’s bed, the usually polite–but–superstitious elder Kaplan was abruptly shocked.
“In old cowboy movies,” he said, in a story recounted by Charlie himself in the press notes, “a hat on the bed is an omen, a premonition that someone will die”.
Indeed, A Hat Upon the Bed is a tribute to Kaplan’s father, who passed away in 2013, as well as to his son, born in 2025. This “fatherless decade” between those two events was a source of love and pain, which Kaplan has used as inspiration for this, perhaps his most personal and…

You need to be logged in to view the rest of the content. Please .

The Doldrums is the debut solo release from Canadian singer-songwriter Ellen Braun. She is based in Canmore, Alberta and is also a member of indie folk duo Trundled with Joe Shea.
Braun recorded the 10-song collection mostly live at Montreal’s Hotel2Tango with producer Howard Bilerman. The album features a full-band performance with Stef Schneider (percussion), Sage Reynolds (upright bass), Mike O’Brien (guitars), and Sarah Hiltz (vocals and keys) and the “Nashville” choir, comprising Hiltz, Stephanie Gagnon, Laura Newman, Babette Hayward, William Kuklis, and Joseph Shea.
Of the album’s title, Braun explains: “Someone once told me, ‘It’s not too late to change the name of your album’. Well, it is now, and…

You need to be logged in to view the rest of the content. Please .

Cryo Chamber’s seventh entry in its ongoing Tomb series opens strongly with a pairing of Apocryphos & Pœna Sensus. Their track, ‘The Sigh of Archaic Tragedy’, is weighty and oppressive, built from deep drones, bass-heavy descending chords, and unstructured percussion that evokes places of burial and stillness.
The rest of the album explores similar themes in different ways. The variety on this compilation is remarkable considering that each piece adheres to a common aesthetic framework.
Dødsmaskin’s Messiaskomplekset’ is borderline post-industrial with rattling textures accompanied by haunting melodies and tones. Fractalyst’s ‘Those Who Slither’ is cinematic and varied, with abrupt changes in volume and palette.

You need to be logged in to view the rest of the content. Please .

It feels an indictment to label someone’s work as gloomy, as though it’s something that happens and not something that’s chosen. But on her latest album, Sabbatical, Rosa Anschütz leans into goth as a genre in a deliberate way. And it’s not only because she features the cawing of crows on a track. Sabbatical is deeply atmospheric with a gloom often enveloping it.
While opening track ‘Eva’ is awash with swampy dissonance, it is a misdirect, for the gauzy effects and layers of wordless vocals hide the sharper edged sounds lower in songs.
Anschütz’s previous work touched on a variety of electronic genres from a dark folktronica to vibrant techno, now replaced by the hard thud of her post-punk bass lines and a voice pulled…

You need to be logged in to view the rest of the content. Please .

A band that has drawn on a variety of ’90s alternative inspirations (grungy alt-rock, winding math rock, tuneful pop-punk, shoegaze, and more), Cusp find their way to something still varied but more streamlined on their second album, What I Want Doesn’t Want Me Back.
Some of its relative consistency may well be due to how it was recorded: it was tracked almost entirely live at Electrical Audio in Chicago by a newly expanded five-piece edition of the group (with returning engineer Scoops Dardaris). This is not to say that the album suffers from sameyness; on the contrary, it was written during a period of transition as the project moved from Rochester, New York, to the Windy City, and is rooted in anxiety and the examination of forces like…

You need to be logged in to view the rest of the content. Please .

From playing shows alongside Amyl & the Sniffers and Sleater-Kinney, through to being signed by Jack White’s Third Man Records, it’s clear that Austin, Texas, quartet Die Spitz have found themselves in the right circles since their formation back in 2022. And while their frenzied live reputation certainly precedes them, it’s with their debut Something to Consume, that their vision comes into sharp relief. Far from scrappy or rough-around-the-edges, ‘Throw Yourself to the Sword’ is a punishing offering – landing closer sonically to metal titans Pantera and Black Sabbath – while ‘Sound to No One’ is a sludgy but mesmeric offering that could suit Deftones. Elsewhere, the bolshy strut of ‘Down On It’ brings a playful feel to proceedings before their hazy closer ‘a strange…

You need to be logged in to view the rest of the content. Please .

Amateur is prolific musician Molly Nilsson‘s 12th album, and while it stays true to the specific style of D.I.Y. synth pop she’s always created, it also embraces eclectic influences the way her previous album did. The title also refers to the joy and enthusiasm that drives creation, even though the word amateur also gets taken to mean someone who lacks professional qualities or ethics. To that end, her music seems to follow in the tradition of independently released synth pop efforts from the early ’80s rather than big-budget chart-toppers, with songs that might sound rough and unpolished, but are undoubtedly sincere and passion-driven. The lyrics also offer commentary on life in a capitalist system, delivered from the perspective of someone who’s worked hard…

You need to be logged in to view the rest of the content. Please .

Doperider, the fourth release from The Utopia Strong, is mainly a record of great and giving calm. The cover’s lettering may suggest Hawkwind at their most planetary, but this record is not a full on, pedal-driven dive into deep space. Rather, Doperider often encourages an investigation of its immediate surroundings, by way of some lysergically-tinged soundtracks.
Opener ‘Prophecy’, maybe the most narrational track on Doperider, is also its lodestar in terms of what to expect. The pleasantly wriggling synth sounds initially suggest we are present at a secretive undertaking in a lab somewhere. The slightly mycological patterns formed by the synths suddenly give way after two minutes to a crunchy beat (one of the few on the record)…

You need to be logged in to view the rest of the content. Please .

The album title is a quotation from Rainer Maria Rilke’s Letters to a Young Poet, which includes the phrase “what steps forth, in holiday clothing, out of the great darkness.” Cellist Clarice Jensen regards the image as a metaphor for the creative process, which often begins in isolation before its public unveiling.
The title track is separated into two parts, a trio of other tracks in-between. One can hear an obvious appreciation for Bach, although the compositional process is vastly different; the cello lines are played, layered and looped to create the illusion of a small ensemble. After a melodic base is established, the counter-melodies begin to develop, growing ever more assured. If a track could be recorded behind closed doors,…

You need to be logged in to view the rest of the content. Please .

Klein used to work as a “logger” on a reality TV show, where she would record what cast members were doing in excruciating detail for use in B-roll shots. In an interview with Pitchfork, Klein noted how easily TV can be manipulated by people willing to distort the narrative, as when her fellow loggers would exclude activities by certain actors to make them look bad.
Klein is the complete opposite. She puts everything out as it comes, raw and unfiltered. It’s obsessive and mundane in a different way, suffused with meaning even at its most impenetrable. After two albums of searing guitar noise, sleep with a cane feels like a retreat into the shroud of her earlier work. She finds solace, and intrigue, in the billowing folds of ambient…

You need to be logged in to view the rest of the content. Please .

Star Dream FM is a curiosity, an aural record of a radio station that doesn’t exist, miraculously brought to life. Dylan Henner imagines finding such a station, broadcasting memories of his seventeen-year-old self in all its glory and angst; the evocative track titles are like diary entries, the music an unusual blend of robotic vocal, choir, music and filtered frequencies. Listeners may be returned to their own childhoods, especially older listeners who once turned the radio dial late at night just to see what might be on, and found delights on the far edges of the dial. To be seventeen is to be between childhood and adulthood, between home and away, between what one has always been and what one will become; one can imagine this as a particularly welcoming time for fantasy,…

You need to be logged in to view the rest of the content. Please .

There’s a marked crossover from Celtic folk music at the moment. The Mary Wallopers now fill major rooms, while the likes of Lankum and Kingfishr edge the genre into the mainstream. Leading this charge are Brògeal, mixing the similarly imbued folk-punk of The Pogues and The Dubliners with indie-rock grandeur. Emerging during COVID, the band have since played pub basements up and down the country, packed festival stages, and nailed some high-profile support slots.
Each song layers vivid images of the pubs and streets of their home town of Falkirk (‘Vicar Street Days’), and its people (‘Draw the Line’), making the record an immersive scrapbook of vignettes. But beneath the frenzied tales of beer-soaked nights runs a remarkably delicate…

You need to be logged in to view the rest of the content. Please .

Jeff Tobias wrestles a frantic saxophone in psych-jazz Sunwatchers and a subtle bass counterpoint in serene and minimalist Modern Nature. Here in a solo project, he splits the difference, amping up indie melodies with proggy, jittery, staccato arrangements, and reinforcing dystopian scenarios with enticing, nearly pop tunefulness.
One Hundredfold Now in this Age takes a strong political stance, but sweetens the polemic with indie drift and dream. “End It,” allow only a brief interval of synth-and-strings shimmer before unspooling its insurgent chorus. “Burn the American flag, one hundred times a day,” Tobias croons, his tone unbothered, his message aflame, as a glittering fusion jazz fanfare goes off in his wake. The song was inspired by American…

You need to be logged in to view the rest of the content. Please .

Good Flying Birds‘ debut album Talulah’s Tape is the work of youngsters deeply in love with the sounds of indie pop. Their devoted infatuation dates back to C-86 and gathers up every twist and turn in the story as they bop along to the present day. They add elements of jangle pop, shoegaze, lo-fi, dream pop, indie rock, and noise pop, gleefully taking bits and bobs from each and welding them into a glorious creation of their very own. It helps that they only borrow and steal from the best aspects of each style, injecting plenty of joyous energy into the arrangements and performances while making every melody as sweet as ice cold lemonade on a sweltering summer day. The production is perfect as well, coming across happily mid-fi and home cooked.

You need to be logged in to view the rest of the content. Please .

In a musical landscape often chasing the ephemeral, Smote’s sound is unapologetically terrestrial. For principal architect Daniel Foggin, music serves as a direct channel for his daily life as a landscape gardener — a world of soil, stone, and seasons. His latest offering, Songs from the Free House is the most profound expression of this connection yet, an album that feels as if it were excavated from the Northumberland ground itself.
Building on the megalithic drone of previous work, this fifth release for Rocket Recordings sees Smote’s sonic palette significantly expanded. While the mantric, hypnotic heaviness reminiscent of Earth or Om remains the foundation, new textures are woven throughout. Foggin cites the influence of heavy electronic artists like…

You need to be logged in to view the rest of the content. Please .

Far from Nowhere is Josienne Clarke’s sixth album. She started in 2019 with In All Weather and her last album was 2024’s Parenthesis, I. Far from Nowhere was recorded in a week in a cabin in the remote Scottish Highlands using just a few instruments and analogue recording equipment. Murray Collier aided and abetted the process as co-producer. Clarke says that the record is a “defiant response to the logistical and emotional tolls of trying to eke out a living in the music industry”. She continues, “The structure of the industry slowly suffocates the spirit of artists, starving them of the self-esteem that comes from remuneration for a job well done, so retreating to a cabin in the woods to make my album made sense”.
Clarke is a folk artist, although her 2021…

You need to be logged in to view the rest of the content. Please .

After an eight-year pause, The Barr Brothers return with their latest release, Let It Hiss, an album arising from a period of personal and professional challenges that temporarily derailed them. As the band notes, the album’s title is a reference to their approach to writing and recording the album in the aftermath, “To leave the hiss in. The discomfort, the imperfection, the struggle, and allow the music to breathe again”. The album features ten songs of emotionally charged songwriting that make a stylistic leap from previous recordings, while still retaining the core elements of their trademark sound. Thematically, the songs reflect the band’s experiences and shifts in their lives over the past few years with lyrics that revel in the messiness of everyday life.

You need to be logged in to view the rest of the content. Please .

Six years after 2019’s Fever Dream, Of Monsters and Men returned with their fourth full-length, All Is Love and Pain in the Mouse Parade. Hitting on the highs and lows of life, the Icelandic quintet stick close to their established sound: touching and tender indie folk anthems that play on earnestness and innocence. The vocal interplay between Nanna Bryndís Hilmarsdóttir and Ragnar “Raggi” Þórhallsson remains the primary draw, with the band — Brynjar Leifsson, Kristján Páll Kristjánsson, and Arnar Rósenkranz Hilmarsson — wrapping listeners in the warm sonic hug that the group is known for. These are intimate peeks into life, both the good and bad, or the love and the pain from the album’s title. The simplicity helps focus the effort, which dials back the bombast of…

You need to be logged in to view the rest of the content. Please .