Guitar, the Portland-bred indie rockers, centred around songwriter and producer Saia Kuli, have always been up for a challenge. From fighting for their spot in a burgeoning art scene in their home city, to toying with the limits of their lo-fi aesthetics to achieve colorful compositions, Kuli has never shied away from the complexity of creating something unique.
The first two projects from the band were tight snapshots of what the band has to offer, quick listens that act as an outline for Kuli’s nuanced fusion work and fearlessness. While those albums are fantastically hazy and intricate, they felt like stepping stones leading up to something greater, and that finish line has arrived on We’re Headed to the Lake.
Category: indie
In the slow, centerless world of Weirs, folk music is a memory that leaps from skull to skull, riding our dreams through time. The North Carolina collective gently dismantles old ballads, standards, and hymns and strews the parts across their three-legged workbench to see what they can find, like curious kids inventing a time machine while tinkering with a pocket watch. On their second album, Diamond Grove, simple tunes telescope into mind-bending epics; tape hiss and digital artifacting scrub the difference from past and present like some metamodern turpentine. It’s a hauntingly familiar signal from next door, leaking across a dimensional dam.
Centered on the fiddle-string tenor voice of Oliver Child-Lanning, a naturally resonant…
Sister John have been about for a few years now so it is perhaps no surprise that there is much in the way of maturity to be found in the words and music that make up the fifteen songs of Don’t Worry, It’s Forever.
It would be easy, therefore, to regard this album as being a serious one. One that successfully combines melody and melancholy as part of this band’s musical recipe for emotional catharsis. One that injects elements of both fragility and heartfelt sentiment into a framework that many might regard as an indication that the inside has become the new outside even if Sister John – Amanda McKeown, Jonathan Lilley, Sophie Pragnell, and Heather Phillip – do so whilst sounding like they have just walked out of the mists of the past.
The history of experimental musicians from Europe and North America adopting Japanese aesthetics is… patchy. It got especially dodgy in the 1990s when every other electronica dork started flinging random kanji characters on their sleeves, writing soundtracks for imaginary Akira bike races and the like. And there are so, so many ambient producers who reference Zen gardens, minimalist interior design and bamboo flutes, you can’t go into a health spa without knocking over a pile of their CDs.
Thankfully Catskills Mountains-raised, LA resident soundscaper Emily A. Sprague is a little bit more substantial than this. Well, perhaps “substantial” isn’t the word for her distinctly mist-like structures, but her engagement with…
There’s a thread of trauma running through most of The Antlers’ albums, and their latest is no exception. Yet while the band’s earlier work, particularly 2009’s Hospice and 2011’s Burst Apart, explored the psychological toll of distress on an individual level, Blight takes a more global approach. Singer, guitarist, and songwriter Peter Silberman here mourns the degradation of the natural world through waste, pollution, and sheer apathy. There are plenty of ways that theme could go wrong, but Silberman manages not to sound doctrinaire or heavy-handed on these nine songs, even as he quietly excoriates a culture of convenience that has chosen to overlook the consequences of next-day delivery and cheap mass-production. Mostly, he sounds…
…Though Ohio singer-songwriter Mark Allen Scott, who releases music under the moniker villagerrr, has not been at it long, his newest record is, indeed, that massive step forward most artists pine for.
Whatever that might mean for Scott, Tear Your Heart Out feels like a clear line of demarcation between what villagerrr once was and what it, one day, might become, (and one of the more exciting albums of the year up to this point).
…villagerrr has been, to this point, a quintessential lo-fi indie artist, releasing music from his Ohio bedroom straight into the world at an impressive clip. Since his earliest recordings back in the fall of 2021, Scott has released six mid-to-full-length albums, experimenting and…
Flock of Dimes – the solo project of multi-instrumentalist and producer Jenn Wasner – releases her third album, The Life You Save, worldwide on Sub Pop Records.
Across the last few decades – whether it be as Flock of Dimes, as half of beloved duo Wye Oak, or via one of her many collaborations with Bon Iver, Sylvan Esso, and a sprawling list of other musical juggernauts – Wasner’s extensive catalog displays her gift for balancing authenticity and directness with an unmistakable left-of-center sensibility. Her songwriting has always found her as a keen-eyed observer, a deeply empathetic and thoughtful storyteller with a skill for probing memory, heartbreak, and unhealed trauma, a shroud of syncopation or off-kilter guitar taking…
After getting back home after touring behind their 2023 album Datura, the duo behind Lorelle Meets the Obsolete found themselves in a tough spot. Low on funds and lacking inspiration, they pondered giving up music entirely. Eventually the spark began to flicker again, and they began to work on new songs. What they came up with was different enough from previous work — both the dreamlike psychedelic waves of the early records or their corrosively experimental more recent sounds — that they thought maybe they would change their name. They decided to keep the name the same and with the help of Suuns’ live mix engineer Antoine Goulet recorded 2025’s Corporal. The record certainly covers some new ground for the duo — many songs have…
The guitar-band-remix-album is a scarce phenomenon. Especially in its entirety like this; a few tracks, sure, but an entire track list remixed by thirteen different artists is borderline unheard of in the current state of British guitar music. For Leeds-based quartet English Teacher, it’s serving as a satiating pit stop while the world eagerly awaits their second album.
For four individuals seeking catharsis within a four-piece rock band, it’s evident a conflation of diverse influence spilled into the debut album, 2024’s Mercury Prize-winning This Could Be Texas. It traverses post-punk, balladry, mathy art rock, the occasional glitched out moment of weirdness, passages of haunting strings, and some of the most ridiculously talented…
The Besnard Lakes may never have quite made the commercial breakthrough that the ‘other’ husband/wife band from Montreal, Arcade Fire, made, but their sheer longevity means that a new album from Jace Lasek and Olga Goreas is always a welcome event.
Although never the most overtly political of bands, there’s an unmistakable edge hanging over Are the Ghost Nation, the band’s seventh album. Lasek has described a ‘ghost nation’ as the death of a country, with explicit mention of the remote but real threat to Canada of becoming the 51st of the United States.
So, although the overall sound will be a familiar one to Besnard Lakes long-term fans, there also seems to be an air of defiance hanging over…
Capturing light is not easy: ask any outdoor photographer. In order to capture the perfect shot, one has to be ready for fragmentary shifts in illumination. In that spirit, Caught Light is Great Lake Swimmers’ ninth album, and perhaps their most nimble: be prepared, don’t overthink, act fast.
Founder Tony Dekker has always been akin to a wildlife photographer, often choosing to make records in unique surroundings with a connection to Ontario history. This time he holed up in the Ganaraska Forest, between Peterborough and Port Hope, with producer Darcy Yates (Bahamas) and engineer Jimmy Bowskill (Blue Rodeo). Their goal was to tap the warmth of early ’70s folk/pop/rock, whether it be the cozy sonic sweater of Gordon Lightfoot’s classic work, or the gentleness…
Solo projects are uneasy ground. It can be marred with identity crises or feeling like a watered- down edition of what you’re temporarily splintering from. It can also be fantastic and welcomed, but rarely both. In the case of María Zardoya, of the acclaimed quartet The Marías, it is absolutely the latter. An excursion to upstate New York in January of this year catalysed bringing Not for Radio, a fresh solo project, to life. Surrounded by nature with collaborators Sam Evian and Luca Buccellati, Melt materialised quickly and in real time.
In short, Melt is stunning. There’s an analogue, in-the-room type tonality to the project, every echo or scratch or vocal inflections cutting through the mix in a way that is melancholic and entrancing. ‘Not the Only One’ may be the cut…
One of the strangest phenomena of early ’80s pop is that U.K. pop duo Naked Eyes – who stormed the Top 10 in America in the summer of 1983 with a thunderous synth version of Burt Bacharach and Hal David’s “Always Something There to Remind Me” – completely missed the chart at home. Perhaps it’s no surprise, then, that a forthcoming expanded edition of their debut, featuring three unreleased demos and a fistful of non-album tracks, takes its cues from the American version of the album.
…the newly deluxe edition of Naked Eyes, mastered by Phil Kinrade at AIR Mastering, offers the album as it was released by EMI America in 1983, not long after a slightly…
Madi Diaz has always centered introspection and emotion in her songs, but in 2021, she made her Anti- label debut with History of a Feeling, an album that reacted to a painful breakup. She continued to process feelings and mental states from the aftermath on 2024’s poignant Weird Faith, a release that bagged her two Grammy nominations. In what could be considered the final entry in a trilogy, Fatal Optimist finds Diaz still examining what went wrong (“My toxic trait is hanging on/Your toxic trait is showing up”) and what lessons she should take away from it on a stripped-down set of acoustic guitar songs produced by Diaz and Gabe Wax. In an effort to reflect the experience of being alone, most of the songs here feature only two…
It’s been six long years since California native and multi-instrumentalist Melina Duterte released new material as Jay Som. In the interim, we’ve swapped Swiftie friendship bracelets, filled up on viral TikTok dances and taken in too many risqué “Juno” poses to count. The landscape of modern pop music has become defined by multi-million PR campaigns, social media gimmicks and high-octane live performances — which is all fine and well, but where did all the bedroom pop go?
Jay Som returns with her third full-length album just in time. Belong is a shimmering follow-up to 2019’s Anak Ko, and sees Jay Som open up her circle to new collaborators in exciting ways. This particular bedroom, it seems, has bunk beds occupied by creatives…
Don’t you just love an album with a fascinating back story? Well, this album has one and is quite different to the norm because of it. Laura Veirs is a singer-songwriter, based in Portland, Oregon, but that’s by no means the full story. Veirs is also an author, writing a book; Libba: The Magnificent Musical Life of Elizabeth Cotten, published in 2018 it was aimed at children. It tells the story of Cotten, an influential musician, a self-taught left-handed guitar player, who played a right-handed guitar upside down, and developed a style of playing which has influenced many players since. Veirs is a long-term fan of Cotten’s work. Additionally in 2018, she launched a weekly podcast with tales of working musicians who are also parents; the podcast…
The third in their collaborative series, Liminal sees lauded ambient producer Brian Eno and conceptual composer Beatie Wolfe join forces once again to deliver the third act of their experimental triptych with Verve Records.
Following predecessors Lateral’s “space music” and Luminal’s “dream music”, Eno and Wolfe meld their respective strengths to round off their thematic wander of the aural unknown with Liminal’s “dark matter”, a singular record that eschews the former’s twofer offering that’s all the more stirring on both thematic and musical levels.
Where Eno’s ambient wanderings felt like aural retreads from much of his career on his Lateral half, here such celestial washes glow with sparkling beauty against Wolfe’s plaintive vocals…
Buddhist Hipsters is eighteenth studio album by English duo the Orb and features contributions from Roger Eno, Steve Hillage & Miquette Giraudy (System 7), Youth, Paul Ferguson of Killing Joke, Andy Falconer, Trevor Walters, Violetta Vicci, Eric Von Skywalker, Andy Caine and Rrome Alone.
In a changing, unpredictable and turbulent world, something we can always rely on is a new Orb album, with the next holiday-for-the-head never far away. On what is quite possibly the millionth longplayer helmed by electronic lifer Alex Paterson; partnered with the now firmly-entrenched boy wonder Michael Rendall; the inspirationally productive outfit yet again deliver the goods, with one of their best yet.
“I was having a dream, and in this dream was…
