When electronic-ambient-new age pioneer Jean-Michel Jarre was working on 1976’s Oxygene, in his makeshift home studio, he often had to tape down two preset buttons of his Korg drum machine to achieve the effect he wanted. Thanks to the breakout success of that record and its winning blend of bright keyboard melodies and warped analog synths, Jarre didn’t have to resort to such ad-hoc methods for long. Live in Bratislava, taped last year in front of more than 100,000 enthusiastic Slovakians, shows us how far Jarre has come from his old workspace. The spectacle can be experienced in numerous editions, from a concert film to a two-CD-set to a collector’s edition that includes a coffee table book.
And yet the bombast never overwhelms…
Category: indie
Anemoia, as the album’s opening section helpfully informs us, is “the ache of nostalgia for a time you’ve never known”. Given the back-catalogue of SG Lewis and his penchant for classic house/disco vibes one has to wonder whether the title of his third record is a concept or an excuse, but either way there are some great instrumentals and guest performances here.
The Shygirl collaboration ‘Sugar’ is a co-write with Totally Enormous Extinct Dinosaurs (so often a mark of quality) and features an earworm vocal about slipping into a romantic situation. The synth melody bounces up and down by sixths and fourths, like a groovier version of Strobe by Deadmau5, and the warm piano chords during Shygirl’s verse are the icing on the cake.
james K has the kind of voice that rises from the ground like steam. As a singer, she follows in the tradition of trip-hop vocalists like Beth Gibbons, Tracey Thorn, and Nicolette Larson, as well as shoegaze frontwomen like Bilinda Butcher and Elizabeth Fraser. Magnetic without being the main event, her idiosyncratic vocal presence has made her an in-demand collaborator over the past decade. It also serves as the driving force behind her most bewitching solo work.
On her hotly anticipated new LP, Friend, james K sets herself loose inside a carefully-constructed assemblage of drum & bass, trip-hop and shoegaze, drawing fresh water from the contemporary resurgence of all three genres.
Since releasing her debut EP RUM in 2013,…
The trio Tchotchke delivers a strong dose of art-pop that is of the current moment but touches on influences from the genre’s heyday, as Playin’ Dumb is far from ignorant. The NYC-based trio, comprising Anastasia Sanchez on vocals and drums, Eva Chambers on bass, piano, keyboards, and vocals, and Emily Tooraen on guitar and vocals, wrote and recorded the songs produced and engineered by The Lemon Twigs. Sonically, the album sounds vibrant with soaring vocals, deep bass, and crisp drums. There is also a lot of added instrumentation that moves these songs in unique directions behind the high-pitched singing of Sanchez, Chambers, and Tooraen.
Opener “The Game” is where the most experimentation occurs as Tchotchke…
In just five years, Guatemalan cellist Mabe Fratti has become one of experimental music’s biggest names. In addition to her spellbinding solo releases, she is an eager collaborator, working with the likes of Efterklang, the improv quartet Amor Muere – which she co-founded in her adopted home of Mexico City – and with her romantic partner, guitarist Hector Tosta, as Titanic. On the latter’s superb 2023 debut, Vidrio, they pioneered a genre-agnosticism that veered from squealing free-jazz saxophone to hammering drum grooves and aggressively processed cello, always anchored in Fratti’s soaring falsetto. It heralded the arrival of a group who embraced experimentation as much as earwormy melodies.
On Hagen, the duo double down on their…
Shrunken Elvis are Spencer Cullum, Rich Ruth, and Sean Thompson, a trio of Nashville musicians who boast some mainstream credits but live more comfortably on the city’s experimental fringe. The music they make together is modern and impressionistic, taking elements from jazz fusion, ambient, post-rock, and even hints of country, which are then filtered and freshened through their combined instincts.
What comes out is a sort of cosmopolitan future jazz, a sleek soundtrack for road-tripping the astral plane. Guitars of every texture weave in and out of the digital froth, joining together in harmony, then sprinting out on their own for a while. The playing is tasteful, occasionally scintillating, but unified by a common aesthetic that nods…
For their fourth Pickle Darling album, New Zealand indie pop songwriter and recording tinkerer Lukas Mayo took an even more deconstructive approach than usual to their process. Their extensive stash of digital files containing things like voice memos, drum loops, and sampled guitar notes that had been chopped up, stretched out, and reversed for the album even caused Mayo’s laptop to peter out and refuse to open files.
Working with what they could recover seemed fitting for Bots, because the songs were about conflict, collapse, and things breaking down in general. The resulting effect is not as heavy-handed as this may sound, as, rather than sounding overtly chopped and screwed, it arrives at something much closer to a whimsical…
What if the trip to Everest were not about the summit? Two springs ago, composer Patrik Berg Almkvisth journeyed through Nepal to the famed mountain, stopping at base camp. The journey was not what he expected; it began with a local funeral and ended with the sight of the sun rising over Everest. In the middle arrive intervals of wonder and joy, but also anger and disappointment. Despite the efforts of locals over time, trash litters the vast trail, a travesty transformed into sculpture by Leslie Leong, shown on the cover. Bodies remain unrecovered. Once-proud glaciers have receded. Might there still be room for revelation?
The album begins with field recordings of Kathmandu, the cheer and chimes of local streets melting into contemplative strings and…
Gwenifer Raymond explores shadowy, nocturnal guitar tones in this third album, following primitive licks into sci-fi futurism. Her songs alternate between folk-blues rambles and psychedelic raga. In either mode, she sounds more like Jack Rose than anyone else working now — and that’s a very good thing.
The Welsh guitarist hammers at her instrument, unleashing a percussive rain of notes that fray and change as they linger. She plays fast and hard and with assurance, whether in the blue-grassy “Cattywomp” or the mystic drone of “Jack Parsons Blues.” And then, just for the beauty of it, she dips into languid lyricism for “Dreams of Rhiannon’s Birds,” letting the notes drip like warm honey, catching the light as they go.
There’s a clever brilliance to the title and cover art of Brian Dunne’s latest record, Clams Casino.
The scene is simple yet striking: Dunne sits alone at a table in an Italian restaurant, framed by walls of celebrity portraits, with a comically oversized bowl of spaghetti stacked high before him.
He meets the camera with a deadpan stare, an image that teases a tongue-in-cheek humor running through the album. It’s a fitting choice, since Dunne’s sharp, witty songwriting easily holds its own alongside masters like John Prine, Todd Snider, and Hayes Carll.
But the sentiment also belies the other side of Dunne’s music; songs here that tackle disappointment, rejection, self-doubt, and isolation. It’s that duality of Dunne’s work…
While visiting a Pasadena, CA art museum a few years ago, Grant Lee-Phillips found himself drawn to an ornate Indian painting. Its fine details were captivating, but it was the title — In the Hour of Cowdust — that lingered with him.
“A common theme throughout the poetry and the paintings of India is this concept of ‘the hour of cow dust,’” Phillips say. “It’s that moment of the day when the cows are led back home, they kick up the dust; that’s a cue to prepare the lamps. Night is about to fall.”
Tweaking the title slightly to In the Hour of Dust, Phillips used that painting as inspiration for his 12th solo album. Across 11 tracks, he uses contemplative, at times earnest, lyrics backed by atmospheric music to roll out…
Although they haven’t had a hit single in almost 20 years, Faithless remain a potent commercial force, continuing to rack up festival headline sets and big-selling albums. Longterm member Maxi Jazz left the band in 2016 but Champion Sound is the first album by remaining duo Rollo and Sister Bliss since his death in 2022.
It is overlong at more than 75 minutes, but its four distinct sections pass in a warm MDMA throb.
The quartet of song-suites are each themed. The first, entitled Forever Free, is introduced by Jazz prior to three tracks of pulsing head-nod. “In Your Own Groove”, with its hackneyed request to “let the music set you free”, features regular collaborator L.S.K. who asks us to tune into our intuition. You get the new age drift.
Five years after bidding a too-early farewell to one of pop’s most stalwart songwriters, a new album from his second-best remembered (but first major) band is coming, built off contributions he left behind. Traces of You is the first new album in a dozen years from alternative pop band Ivy. The news might come as a shock, as one of the group’s charter members, bassist/songwriter Adam Schlesinger, died in 2020 – an early victim of the COVID-19 pandemic. Happily, as a gift from somewhere beyond, he’s present on all 10 tracks, sourced from reel-to-reel tapes discovered while prepping reissues of the group’s back catalogue. Originally recorded through most of the group’s tenure between 1995 and 2012, Schlesinger’s bandmates (multi-instrumentalist…
From El Boraro, the vampiric demon on 2018’s Anticlines, to Petra, the alien observer of 2022’s ¡Ay!, Lucrecia Dalt often uses fictional personas to explore complex themes and emotions in her work. However, with A Danger to Ourselves, she sheds the chrysalis of these alter-egos to emerge with her most personal record yet.
The title, borrowed from David Sylvian’s lyrics on opener cosa rara, hints at the album’s preoccupations; emotional volatility, self-sabotage, and the uneasy pull between intimacy and annihilation. It’s Dalt at her most exposed, and somehow, her most inscrutable.
On ‘divina’, you sense this newfound vulnerability as she sings about improbable love against a backdrop of staccato piano and the sharp,…
There’s not enough time to break down the cognitive dissonance of younger audiences discovering Shame through supporting Fontaines D.C. – who, lest we forget, got their big break as support for them.
All you need to know is that Shame are cool again and, in perhaps the coolest move possible, they couldn’t care less. They’re right back on the offensive with ‘Cutthroat’, their fourth studio album, which they’ve bluntly described as less an exercise in “poor me” and more in “fuck you”.
That much is abundantly clear on the album’s opening suite. The title track’s walloping disco beat is matched to a riff with lasers set to stun, while fearless frontman Charlie Steen invokes Kevin Smith’s 1999 film Dogma of all things.
While Humanist is essentially a solo project for Rob Marshall, his music is always rounded out by his impeccable choice of guest vocalists. Marshall’s first album under the moniker was a welcome surprise, seemingly coming out of nowhere, and fully formed.
On the Edge of a Lost and Lonely World has a task ahead of it to match its predecessor, not least because one of the voices that made such an impression on the first Humanist album is now floating, gruffly, in the ether.
The husky, damaged vocals of Mark Lanegan always made an impression no matter the band or artists he was working with. Marshall had worked with him previously, on Humanist material and in writing a number of songs for Lanegan’s…
For as long as it has existed, it seems as if the piano has been subject to opinions and experiments of various types. In the late nineteenth and early twentieth centuries, the player piano was a popular self-playing piano with a mechanism that operated the piano action using perforated paper or metallic rolls to play popular tunes.
Later on, it became more fashionable for pianists to play inside the piano lid, for example by striking or plucking strings, by vibrating strings using an ebow and/or inserting items such as door keys or ping pong balls onto the strings, which made some sounds unlike an untreated piano. In addition, opinions differ greatly about the ideal tuning to make a piano sound as good as possible.
All of which brings us to Jo David Meyer Lysne,…
“Anyone can be an artist,” croaks the voice of an old woman whose English accent sounds like it’s been ground down by time. She goes on to recount the simplicity of art; you draw something, and someone else likes it and they buy it. Woven into this discussion is another, with a sound quality that suggests it was taken from a pre-digital age film, in which a man’s voice ponders suicide. The first voice is Vannessa Rossetto’s late mother, and one might suppose that the second narrator is a stand-in for Rossetto, since the next track commences with mom reacting with dismay to the artist’s disconsolate tears. “What are you crying for? You need to see a doctor and get some therapy.” The voices give way to vigorous splashing, turning wince-inducing pathos into…
