“And you’re off into the burning blue” songwriter Dave Benton sings on “Ponies,” the centerpiece of Trace Mountains’ fourth full-length album Into the Burning Blue. Decorated with retro textures and violet flowers, the album begins with the crackle of a fire, as if something is burning and hatching into a new form. As Benton grappled with the end of an 8-year romantic relationship, songs were pouring out of him in quick succession, often urgently before he had logically processed the emotions himself.
Collectively, the songs are imbued with a spectrum of weighted emotions, but the blue continued to burn, with each song adopting its respective hue – a violet reclaiming of passion, a deep sea blue of sorrow, the sky blue moments of relief…
Category: indie
While their debut album, Howling at a Concrete Moon, was drenched in modern anxieties and struggling to find one’s place in today’s society, London indie rock foursome Pynch are looking more inward on their second record together, trying to decipher what it really means to be an indie band in the confusing world they attempted to paint a picture of two years ago.
Sadly, Beautiful Noise doesn’t do a great deal in answering these pertinent questions. What Pynch have attempted to do across the ten songs on this follow-up is explore a greater variety of sounds, bringing in shimmering synth textures and occasional glitchiness that layers over the walls of guitar noise that pervade through the majority of the record.
Alice Cohen has manifested throughout alternative music history in improbable ways, from MTV-era new wave with The Vels to Michael Stipe-produced grunge to 2000s hypnagogic pop.
Her latest album, Archaeology, might be her most revealing work yet, which feels almost paradoxical given its prominent use of instrumental tracks. The record seeps through the accumulated layers of a 13-year Brooklyn residency, where her apartment has become something like an archaeological site. Cohen plays her father’s old Yamaha drum machine live rather than programming it, maintaining a tactile connection to family history.
The songs bathe us in both intimacy and mystery, and when Cohen removes words entirely, something within the sonic shapes…
Luv in the New World is the title of Canadian artist Joe Nolan’s new album, produced by Grammy Award winner Tyler Chester. Mostly recorded on tape live off the floor, there is an immediate rawness and warmth to the sound that adds extra weight to Nolan’s compositions, further enriched by an excellent group of accompanying musicians. The lineup might change from one song to another, but Nolan’s perfectly controlled voice remains as one of the album’s key elements.
The record kicks off with ‘Wake Up Sleepy Anna’, a smooth yet poignant track that was released as the album’s lead single. The lyrics tell the story of Anna, a fictional character who serves as a symbol for hope in uncertain times. It’s a wake-up call in which an optimistic attitude is…
The mask and Stetson have become shorthand for Milo Korbenski’s cultivated mystique, like a minor character in a Nicolas Winding Refn film. But despite the title, Sex Angel, his second outing for Phantom Limb, suggests the costume isn’t a kink. It’s protection. Korbenski has always been prolific, but here he wrings songs out of his own anxieties, externalising private crises through scuffed textures, skewed beats and lyrics that teeter between confession and provocation. He calls it an “optimistic album”, but this optimism has been dragged backwards through a club and kicked out back: protesting, bruised, but still singing.
The album’s three singles tell most of the story. “Six Angle” is all brute persistence, two chords hammered out while a fuzz-choked…
…includes three discs consisting of the original album, live tracks from Samia’s NPR Tiny Desk Concert, the band version of “Is There Something in the Movies?” and tracks from her cover/remix album project titled ‘The Baby Reimagined’.
A native New Yorker and daughter of professional performers, Samia Finnerty had acted off-Broadway and appeared on prime-time TV by the time she released her first angsty guitar and piano songs as a 20-year-old in 2017. After rising through the touring ranks with opening slots for the likes of Cold War Kids and Soccer Mommy on the strength of early songs, Samia makes her full-length and Grand Jury label debut with The Baby.
Recorded with a trio of producers, including members of Hippo Campus, the album…
Yes, yes, yes to guitar tones bent by volume, to tone-altered screech with dream-soft vocals flowing over, to pedal boards that look like good-sized train sets, yes to all of it.
There’s a tsunami of latter day shoegaze thundering towards the shore these days, some even would say a surplus. Others might argue that “surplus” is a strong term, a little judgy in fact, and wouldn’t you rather have too much of this than anything else? But regardless, the good stuff in this vein is very, very good, and Shaki Tavi is undeniably on the positive end of the spectrum.
Given the glistening, multilayered drifts of sound, you might expect Shaki Tavi to manifest itself as a band, perhaps a couple of guitar players, definitely a bass player, clearly at least…
It’s no secret that the world we know today is a dark, violent, frightening place. A recent joke making the rounds on the internet held that for Halloween, homeowners wouldn’t need to put up skeletons and witches to decorate, they would just have to lug the television outside and put on the news. It’s ever more important, then, that there are bands that sound like they’re having fun. They don’t necessarily have to have “fun” themes. They just need to make despair sound like a party. Boston five-piece Guerilla Toss’ 6th LP, You’re Weird Now, does exactly that. It’s a collection of songs about being lost and dealing with the world through drugs, but it makes that sound like the best time on the planet.
Although at their core they’re a punk band,…
Snuggle’s Goodbyehouse is a Trojan horse for psychic hurt. Some of that pain is inescapably direct, like when Andrea Thuesen Johansen quietly intones, “Yeah, I’m broken,” on “Sticks.” But the Danish duo of Johansen and Vilhelm Tiburtz Strange typically veil their distress with the prettiest ’90s alt-rock. Take “Dust,” their self-described “love song for an apocalypse.” It sounds a bit like Loveless if the shoegaze classic were honest about its feelings. My Bloody Valentine’s album, and so much of the music it influenced, reveled in waves of reverb, as though treating heartbreak and infatuation alike as emotions to burrow inside instead of confront. Snuggle don’t succumb to the same sonic fantasy. Even when the vocals sound frothy and the drums approximate…
Remastered by Mark Beazley.
Multi-talented producer Susumu Yokota returns to the ambient realm with the beautiful and diverse Sakura. When he indulges his fondness for pop hooks with his dancefloor material, Yokota’s melodic choices are glossy and extroverted, but his music for home listening is focused, controlled, and deeply internal. His knack for blending traditional instruments like guitar and piano with simple electronics harks back to ambient music’s birth in the mid-’70s; at times Sakura recalls the work of pioneers like Brian Eno, Cluster, and Manuel Göttsching. The icy “Saku” sets the meditative tone on Sakura, with gentle, winding guitar lines, relaxed synthesizer oscillations, and plenty of breathing space for the minimal…
It’s funny to think that raptor house was literally inspired by dinosaurs. Its jagged synths and speedy 139+ BPM charge were a sonic sketch of Jurassic Park III’s velociraptors. And as you would hope with such a name, it has blazed a trail of devastation across dance floors for over two decades, thanks to its pioneer DJ Baba the Raptor, aka DJ Babatr. In the 2000s, DJ Babatr’s track “Las Lomas” fired up the matinés of Caracas, while “Xtasis,” his collaboration with Nick León, enchanted European and North American clubs in 2020. Root Echoes is his latest offering and includes tracks that date back to the halcyon days of raptor house, plus a couple more recent numbers that weave new flavors into the genre’s tough makeup.
Some of these influences are at odds with…
Kelly Moran is an incredibly versatile performer whose music straddles the categories of ambient, electronic and modern composition. On Don’t Trust Mirrors, she completes a circle, returning to prepared piano and synth after a gorgeous foray into solo piano on last year’s Moves in the Field. But her trajectory is not quite that simple; a pianist at her core, she would often play concerts in the early evening and dance to techno until late in the night. Last fall, Loraine James & Fyn Dobson teased out the club underpinnings of solo piano piece “Superhuman,” and this year, Bibio helps her to revisit “Don’t Trust Mirrors,” which first appeared on last year’s LP and is now the title piece of a new one. It’s exciting to hear tracks transformed in this manner, and both re-imaginings…
You probably know Margaret Glaspy as a songwriter, first and foremost. Over three albums, the one-time Texas Fiddle championship contender and current indie folk rock icon has developed a reputation for sharp guitar work, prickly melodies and lyrical penchant for what NPR’s Ken Tucker calls “complexity that unfurls with deceptive directness.” And yet, she’s also an adept interpreter and an agile collaborator, as this seven-song covers EP demonstrates.
These songs all come from the Americana wing of popular music, not country exactly, but infused with that storytelling sensibility. “The Book of Love,” one of the Magnetic Fields’ 69 Love Songs, is, perhaps, the most urbane, puncturing sentimentality with sly lines like…
For her third album, Nashville-based Kashena Sampson pivots away from her more traditional folk-leaning roots toward a moodier, psychedelic folk-rock sound that gives her music a darker edge and continues to add to her appeal.
You can hear influences as varied as Kate Bush, Siouxsie Sioux, and Tori Amos woven throughout the nine tracks that make up Ghost of Me. That’s not to say she has completely abandoned her Americana roots; she just managed to find a darker, Gothic side to the genre by employing more synths and reverb to enhance the moodiness, while delving into deeper topics. The change is apparent on the opening title track. Backed by synthesizers, a swelling orchestra, and a lot of reverb, she essentially gives listeners…
Love’s Work is the first instrumental album by NY based songwriter/musician Zachary Cale. With his signature fingerstyle guitar technique at the forefront, the album highlights Cale’s natural sense of melody and movement.
Although referencing the John Fahey / Robbie Basho (et al) Guitar Soli genre, the album encompasses a larger brew of influence. Collaborating with the improvisational prowess of percussionist Jeremy Gustin and bassist Shahzad Ismaily, Cale’s compositions are unconstrained and free flowing, bringing to mind jazz players like drummer Billy Higgins work with Sandy Bull, and the expansive acid-folk of forward thinking roots musicians like Michael Cooper. Even without Cale’s distinctive singing, these tracks are filled…
Leon Vynehall likes to work his thoughts out on tape. The British dance producer’s decade-plus career has anchored itself around densely conceptual releases that are as much a peek into the artist’s headspace — supplemented with novellas, short films, and essay-length creative statements — as they are advancements in his room-filling house music. Even the stripped-down, banger-first mentality of 2021’s Rare, Forever expressed self-conscious concern over the album’s lack of window dressing: Halfway through “Dumbo,” Vynehall paused to ask a question — “Dya know what I mean?” — as though worried that the music wasn’t speaking for itself. With his newest release, In Daytona Yellow, Vynehall turns fully inward, baring a raw, neurotic, and…
Mark Kozelek’s Sun Kil Moon has teamed up with the Hungarian band Amoeba for a remarkable cross-continental collaboration simply titled Sun Kil Moon featuring Amoeba. The album was recorded in Hungary throughout 2022 and 2023 and marks Kozelek’s first major international studio partnership in several years.
Initially released outside of North America in September 2024, the album later arrived on CD and vinyl in October 2024. It blends Sun Kil Moon’s introspective storytelling and spoken-word style with Amoeba’s rich, jazz-infused instrumentation, resulting in one of the most atmospheric and emotionally charged records in Kozelek’s recent catalog. The follow-up, Sun Kil Moon and Amoeba Vol. 2, features eight tracks that stretch…
It’s 100% ‘Mission Possible’ for Northern Ireland’s indie-power pop legends, Ash. Their ninth studio album, Ad Astra, blasts off in turbocharged style, a blazing follow-up to 2023’s Race the Night, and the band are set to soar into new sonic realms, pushing their sound to new heights and expanding their musical universe.
In the spirit of doing exactly what it says on the tin, or rocket if you are so inclined, Ad Astra lives up to its name, marking the band’s most ambitious and elevated work to date. Of course, it’s not their first rodeo when it comes to their fascination with all things intergalactic, the intriguing world of space has always shaped their sound and inspired their creative vision.
In fact, their debut album, the seminal 1977…
