The Smashing Pumpkins are revisiting the material that initially marked their final bow with a sprawling, unusual box set.
…a new box set, Machina (Aranea Alba Editio), offer a remixed and resequenced, 48-track quintuple-album drawing from Machina, its sequel Machina II/The Friends and Enemies of Modern Music and assorted B-sides, plus a further three LPs of 32 rarities and outtakes, with more than 30 tracks entirely unreleased.
It’s an unusual release plan for an unusual series of albums, which brought the Smashing Pumpkins back to their roots and then closed the book on them entirely a quarter-century ago. Machina/The Machines of God was a back-to-basics, grunge-adjacent guitar album that…
Category: indie
Early Recordings 1994-95 marks the first time that material from Kreidler‘s early cassette Riva and 12″ EP Sport have been compiled onto an album since they initially surfaced. On these releases, the newly formed Düsseldorf-based group established a very casual-sounding form of groove-based jamming, usually setting up strong but fluid rhythms and augmenting them with dubby echoes, shimmering keyboards, or other instrumental shadings. The Motorik style of earlier acts from the city like Neu! and La Düsseldorf clearly informs the band’s approach, but there’s other textures and influences that put the music more in the realm of the original wave of what journalists first referred to as post-rock during the ’90s. Though there are some studio-mixed overdubs, it…
They Are Gutting a Body of Water originally began as the solo project of Doug Dulgarian, who established a digitally enhanced version of shoegaze which frequently detoured into electronic noise interludes and drum’n’bass breakbeats. Eventually, he embraced a full-band format, and became known for shows where the musicians face each other on the floor instead of playing on-stage. LOTTO is the group’s attempt to create a raw, live-to-tape album rather than something engineered and assembled on a computer. The record’s dark, crushing shoegaze songs feature cryptic, fragmented lyrics which offer perspectives on an uncertain life that feels like it’s on the brink of disaster. Many of the songs seem to address drug addiction and other coping…
While Living Hour have always operated at a stylistic crossroads, mixing dream pop with psychedelia and shoegaze with angular indie rock, they expand their boundaries even further on Internal Drone Infinity, the Winnipeg group’s fourth album. It ventures into straight-up noise on the brief first track, “Stainless Steel Dream,” whose electro-staticky opening transforms into a languid lo-fi alt-rock before finally cranking up the amps and stomping on the distortion pedals — a little appetizer of the broad indie spectrum to come. It’s an unexpected crash-boom-bang introduction to their Keeled Scales label debut, an imprint known at this point for its artful indie folk clientele. Having said that, one of the highlights here is the ambling, nearly six-minute “Texting,” a drawling,…
Faten Kanaan‘s music has a transporting quality that is hard to define. The manual repetition of her approach — performing looped keyboard parts entirely by hand — lends her electronic compositions a human feel, as does her choice of organic-leaning sounds and tones. But there is always something otherworldly about them, an abstraction that suggests a natural world shimmering just out of reach.
Diary of a Candle, Kanaan’s sixth album and third for U.K. indie Fire Records, may be her most enigmatic release yet. Its mystique is undeniable — each piece unfolds like a chapter in a dark fairytale that goes nowhere and everywhere. Tracks like “Afternoon” and “Celadon” have a curious, questing nature, though it’s unclear…
British rocker Miles Kane joins forces with the Black Keys’ Dan Auerbach for his bluesy and bombastic sixth album, 2025’s Sunlight in the Shadows. A gleefully obvious case of what you see is what you get, the album (which follows 2023’s One Man Band) finds Kane and producer / instrumentalist Auerbach essentially playing out their idol worship of Marc Bolan’s T. Rex, crafting psych-soaked glitter stomp anthems drenched in fuzztone guitars. It’s a throwback, vinyl-era aesthetic both artists have explored on previous albums and one which has been a creative touchstone for Kane going as far back as his Last Shadow Puppets albums.
Here, they recorded live in studio, backed by a potent cadre of instrumentalists, including…
Not only had the Bats been making records for over forty years when 2025’s Corner Coming Up was released, but their quality had never dipped even a little. Every record has featured intricate guitar interplay, chugging rhythms, melodic bass lines, Robert Scott’s wistful lead and Kaye Woodward’s supportive harmony vocals, and songs that don’t go for big gestures, instead zeroing in on the tiny moments that meld together to make or break a heart, or build a life.
This record has exactly the same amount of those things that all their previous records have, though now the specter of age has started to creep in around the edges. Not that they sound old in any way, but more that the weight of their catalog have grown to the point where they…
Holly Golightly took a long break after her 2018 record Do the Get Along and when she returned in 2025 with Look Like Trouble, she did she with the same crack band backing her up, the same mix of songs that swung easily from low-down blues to waltzing country and all points in between, and most importantly, the same attitude and charm she has always displayed. By the time the record came out she’d been doing this for a fair spell, but one would never know it. Both she and the band sound fully committed, playing with tightly wound restraint, and the guitars have some serious bite especially during the solos that threaten to blow out speaker cones. Golightly sings of revenge, putting people in their place, sorting out romantic ills, and the ups and downs of…
In May, Dua Lipa introduced a special guest at her Sydney gig: Kevin Parker, who duetted with her on a version of ‘The Less I Know the Better’, the biggest hit Parker has ever released under the name Tame Impala. The pair have a longstanding creative relationship – Parker co-produced and co-wrote most of Dua Lipa’s last album, Radical Optimism – but nevertheless made for quite the study in contrasts. She was resplendent in a glittering lace catsuit, stiletto-heeled boots, a fake fur stole draped over her shoulder.
Lank-haired, clad in a baggy multicoloured cardigan and a string of wooden beads, Parker looked not unlike a man who had arrived onstage direct from a very long night up at Glastonbury’s stone circle.
Seefeel‘s take on electronic music is not quite like any other outfit’s, and the particularities of their sound were apparent from their earliest output. While their 1993 debut full-length, Quique, is a master stroke of their brand of dubby, dreamy underwater shoegaze shot through with deep bass, the material that made it to several of their EPs that same year is just as powerful. Enter Pure, Impure, an EP that captured three stray tracks of Seefeel’s unique rhythmic and hypnotic dreamscaping, as well as some remixes. “Plainsong” is an upbeat and sprightly tune with the vocals buried deep in the mix, hitting the same stride as some of the more drum machine-reliant tracks on My Bloody Valentine’s Loveless, and the nearly 11-minute-long “Minky Starshine” evolves…
With her full-length Skullcrusher debut, Quiet the Room, Helen Ballentine established a floaty, almost ambient sound, one where songs were swathed in gossamer layers of synths, guitars, strings, field recordings, and unidentifiable electronic whispers alongside wispy, ruminative vocals and introspective lyrics. If anything, she takes this sense of untethered atmosphere even further on And Your Song Is Like a Circle. She began working on the album after moving across the country from Los Angeles to upstate New York, a move that was followed by long periods of isolation. She assembled it somewhat piecemeal, capturing ideas over a period of three years and recording them at home, at friends’ studios, and with Aaron Paul O’Brien (Los Angeles) and…
It’s seven years since the Belgian brothers Dewaele unleashed their fine, largely instrumental and foot-stomping Essential album on the world, but they’ve given short shrift to any ideas of sitting on their laurels in the intervening time. Their new album, All Systems Are Lying still points emphatically towards the dancefloor, but it brings plenty of new flavours to their sound and is considerably more song-based than its predecessor.
This isn’t to say that Soulwax have gone down the standard guitar, bass and drums route on their new album. Their sound remains emphatically guitar-free in fact and still sits very much in electronica territory despite their three drummers. There are, however, shades of LCD Soundsystem and Depeche Mode evident especially on…
…The new edition was remastered at Abbey Road Studios.
John Darnielle is a compulsive writer forever clutching his stomach as songs pour out uncontrollably into whatever recording device is in front of him. What sets him apart from other prolific artists in the indie rock world (Conor Oberst, Ryan Adams, Stephin Merritt) whose records and side projects can’t keep up with the flow of their pens is his almost alarming gift for pairing quantity with quality. After dropping the devastating Tallahassee — a record that followed in gory detail the imagined demise of a Florida couple’s marriage — in 2002, he turned his focus inward, taking an almost autobiographical stance on the follow-up, We Shall All Be Healed,…
…20th Anniversary Edition of the album includes multiple B-sides from the same time as ‘Feels’, such as crowd favorites from the time like the abstract “People” and the lively, romping “Tikwid.” It also includes a handful of never-before-heard demos for songs that were fully realized on ‘Feels’, and more.
While critics found it easy to lump Animal Collective in with the freak folk scene after the strumming madness of Sung Tongs, Feels may cause them to revise their opinions — slightly. First, this is more of a rock record, especially early on; the frequent cymbal crashes and pounding drums leave little doubt. Second, Feels has less of the aimless meandering of many artists in the freak folk scene. AC can, and do, explode at any…
If it had been released any other year, The Telephone Numbers’s 2021 album The Ballad of Doug would’ve been an indisputable highlight of the jangle pop genre. It has all the requisite qualities: winsome vocal melodies, delivered with scruffy sweetness; silvery electric guitar strings, strummed ‘til pillowy soft; a strolling pace and sun-dappled vibes to balance the melancholy.
It’s terrific, but it didn’t get the attention it deserved — not because of critical indifference, necessarily, but because 2021 just happened to be a loaded year for jangle pop, with top-shelf releases by Ducks Ltd., The Umbrellas, Teenage Fanclub, Chime School, Quivers, Massage, The Reds, Pinks & Purples, and The Boys With The Perpetual Nervousness, to name just a handful.
…include the newly mixed and mastered tracks, two B-sides and three previously unreleased demo recordings.
Daniel “Soupy” Campbell, the lead singer and lyricist of The Wonder Years, has never been a guy hesitant to wear his heart on his sleeve, which, of course, is part of the point of being in what is generally thought of as an emo band. But while Campbell has always had plenty to say about the stories of fellow kids from Philly trying to make sense of an often unforgiving world, he’s chosen to take on bigger themes on the Wonder Years’ fifth album. Released in 2015, No Closer to Heaven is a song cycle Campbell has written from the perspective of a man struggling to come to terms with the death of a loved one,…
Designed in 1962 by Brazilian architect Oscar Niemeyer, the concrete dome in Tripoli, Lebanon was intended to be one of 15 structures that housed a permanent International Fair, expected to welcome over two million annual visitors. By the time civil war broke out in 1975, construction had not yet been completed, leading to the suspension and eventual abandonment of the project. The Dome Sessions, conceived by audiovisual artist Firas El Hallak, is a series of recordings that captures musical performances in the space of Niemeyer’s unfinished concrete dome, and also serves as the soundtrack to an upcoming documentary about the dome’s position in Tripoli’s cultural history. Each piece features a different artist, both solo and ensemble,…

For much of their career,