When Sydney outfit Daily Toll first surfaced in recorded fashion, it was with a series of rough, mostly outdoor, mostly live-to-device digital recordings, including their first EP, 2021’s It’s a Lot. Recorded in a day among natural sounds on Indigenous land with a handful of instruments in tow, including synths, accordion, mandolin, and bowed guitar, it revealed a duo (Kata Szász-Komlós and Jasper Craig-Adams) figuring out how to capture things like existential angst, passion, monotony, and truth in musical form. Longtime musician and friend Tom Stephens joined the project circa 2024, and the trio signed with Tough Love Records for their first studio recording and full-length release. The newly updated lineup continues to try things out…
Category: indie
late night drive home are a distinctly and self-consciously Gen-Z band who speak of how they have never known a world without the internet, and the “endless stream of joy, sorrow, and titillation” it now ubiquitously provides. With their debut album as i watch my life online, the evocatively-named Texas four-piece have set out to capture what this means on a daily basis.
Beginning with the title track, the album immediately channels and induces anxiety: the restless, constantly shifting anxiety of online life. Pulsing synths pan left and right and Andre Portillo’s processed vocals seem to stumble under the weight of the message to be told. “We got everything — so what?” is the refrain. Subsequent songs ‘she came for a sweet time’…
After the Madchester scene of the late ’80s merged neo-psychedelic indie pop with acid house, the crossover between club culture and alternative rock reached new heights during the second half of the ’90s, when journalists touted “electronica” as the next big thing. Going Out of My Head: Adventures on the Indie Dancefloor 1995-1999 attempts to anthologize the peak era of big beat, trip-hop, and alternative dance, giving space to DJ/producer acts and dance-influenced rock bands as well as rare remixes previously tucked away on CD singles. Compared to most Cherry Red compilations, this one amusingly seems to contain a higher percentage of songs that were actually hits, including U.K. chart-toppers such as the Prodigy’s “Breathe” and Norman Cook’s remix…
Miami’s cityscape can feel like a living organism. Take Brickell City Centre, a four-city-block condo-office-mall complex that literally breathes. It was designed to create a natural breeze in the Florida heat, so that the monstrous development would have to rely less on air conditioning. BCC is vaguely hideous on the outside, but inside its lines are clean, wavy, and oceanic, certainly gorgeous enough for a Sunglasses Hut. Brickell City Centre embodies the work of Arquitectonica, a local architecture firm that, since the 1970s, has remade Miami’s image with glass facades and curvy shapes. Their greatest buildings feel natural but also garishly artificial, and lend the city a hyperreal feeling—a sense of luxury and awe that defies the reality that the climate crisis could upend life…
Giovanni Di Domenico as a master of his instruments produces bulky sound rugged and dark atmospheres but also plainly beautiful through stark contrasts. Improvisation is therefore more as a state than an outline or shape, the timbre is the actual carrier of the form, drone is the crucial element. Edge Runner is sophisticated, refined even, balanced despite its obvious unwillingness to compromise, carefully crafted regardless of the mad surface structure.
Noema consists of a live recording of an improvisation based on a four-part open compositional framework. As on Zethson’s solo disc “Pole of Inaccessibility” (released on Thanatosis in 2016), it explores almost-repetition, organic transformations, and the combination…
Those with low expectations might still get something out of this new recording by Sunn O))) amp botherer Stephen O’Malley. On first listen, it’s a fairly underwhelming experience on account of its relative sparseness and brevity. Released in the Portraits GRM series, the “album” is a single piece so those who are after a physical copy would be advised to purchase it on compact disc. Not only is this cheaper, it means you won’t have to turn over an LP halfway through listening to the song. Once the CD is out of its shrink-wrap and in the machine, the display will read a total running time of 32:39. That’s fairly tight as far as drone-metal recordings go. Given that O’Malley is operating at his typical snail pace, it doesn’t allow for much musical expansion to occur before…
It’s not often an album title perfectly sums up the kind of music contained within, but Old Time Fantasias comes close. Joseph Allred’s 23rd solo album (roughly) is a finely-balanced combination of dreamlike freeform experimentalism and folksy fingerpicked twang, the kind of thing the Massachusetts resident has perfected over their long career. But take a closer listen and you might come to the conclusion that this album is something of an outlier in Allred’s catalogue. For one thing, Old Time Fantasias is not really a solo album: early in the recording process, Allred enlisted the help of pianist Hans Chew, and before long, the project had burgeoned into what Allred calls ‘probably the most involved and densely orchestrated album I’ve made…
Austrian singer-songwriter OSKA continues to carve out a space that’s honest, personal, and quietly powerful in her new album Refined Believer.
While her debut, My World, My Love, Paris, focused on growing up and figuring things out, this new record feels more grounded, like she’s getting closer to understanding herself and the world around her.
The ten-track album opens with “The Final Straw,” a soft and emotional track about the slow end of a relationship. Like much of the album, it doesn’t rely on big moments or loud production, instead, it’s all about small details and real feelings. OSKA’s light, airy voice floats delicately over a plucky acoustic guitar and her angelic harmonies pierce straight into your soul.
Mortality is a fragile thing and, when keeping the company of animals, knowing the inevitability of death feels all the more acute. This kind of relationship can buoy a life; its ending is a kind of bone-deep pain that is often misunderstood but fertile for vulnerable expression. For over 20 years, Blonde Redhead’s Kazu Makino has been writing songs about horses. The band’s 2004 4AD debut, Misery is a Butterfly, excavates a riding accident that left Makino trampled with a broken jaw that prevented her from singing. Despite the maudlin title, it is an album about enduring, and ends with the danceable “Equus,” a nod to the equine that shares a name with a play from the 1970s about a teen boy with an evangelical obsession with horses. On stage, it is the animals…
After releasing a collaboration with new age pioneer Ariel Kalma, Jeremiah Chiu and Marta Sofia Honer recorded the material that ended up forming the bulk of Different Rooms. The duo’s music is a mixture of live improvisation, studio experimentation, and field recordings, often created during the editing process. Different Rooms includes sounds captured from within cities as well as home environments, and it’s meant to have a more direct, present feel, rather than the otherworldliness of their first album together, Recordings from the Åland Islands.
The pieces generally blend Chiu’s warm, alert synth pulsations and ambient textures with Honer’s multi-tracked viola playing, which sometimes glides smoothly, as on the shimmering…
Wind, Again is an intoxicating album of deep complexity and nuance. Based between France and Lebanon, the architect of this work, Sary Moussa, has created an interplay between the micro and macro within complicated landscapes. With both Western and West Asian instruments and deftly hewn, jagged electronics, he oscillates between collective experience and the deeply personal. This album is an exploration of how we occupy the real and unreal nature of place individually and collectively. It is about the stories we choose to tell. It creates ecologies that reject ego-driven narratives of a lone composer calling all the shots. Wind, Again feels, to me, like crucial listening. The album flings a door wide open inviting radical change, disruption and abstract beauty.
The Bongos’ derived from a vibrant New York City area music and art scene that had given rise to bands like Television, Talking Heads, and Blondie. Hailing from Hoboken, New Jersey and led by guitarist, singer, songwriter Richard Barone, the band played over 300 shows in 1985, and on Memorial Day weekend of that year played the succulent, sun stroked New Jersey shoreline and recorded a live album for RCA records.
For the 40th anniversary of this performance, JEM Records is releasing The Bongos,’ The Shroud of Touring: Live In 1985, remastered from the original 24 track analog tapes. Previously unreleased, the recording is a revelation. Recorded at the Tradewinds in Sea Bright, NJ on May 24, 1985, the recording features the Richard Barone…
Sharpie Smile (Dylan Hadley & Cole Berliner of Kamikaze Palm Tree) break out with their debut full-length – a lush, energizing contemporary pop record, built on heart-swelling minimal/maximal electronic production + deep feels.
…Kamikaze Palm Tree released two albums. The second of those albums was called Mint Chip, and it came out on Drag City in 2022. This makes sense. Mint Chip is the kind of album that should come out on Drag City, the Chicago label that’s been cranking out a steady stream of off-kilter art-music since the dawn of the ’90s. On Mint Chip, Kamikaze Palm Tree settled into slightly hookier and friendlier melodies than the ones that populated their 2019 debut Good Boy.
…Haldey and Berliner had a new project going,…
A musician, writer, and arts enthusiast in general, Angel Abaya came up in the arts scene of Boise, Idaho, where she played in several bands and, as a young adult, worked her way up to program director at a local dance company. Looking to expand her horizons and opportunities, she moved to Los Angeles, where she found work as a freelance writer, sometimes covering music.
That’s also where she met Sean Guerin of De Lux; the two bonded over an affection for off-kilter pop and vintage gear. These interests and some of Abaya’s background, including reading a lot of music press releases that oversold the work in question, heavily inspired the go-for-broke, live-up-to-the-description spirit of her larger-than-life alter ego, Gelli Haha. Produced and…
Lightheaded‘s bright and breezy brand of indie pop captures all the things that make the genre such an enduring delight. The band’s records combine innocence and experience, balance melancholy and sweetness, draw from a set of influences ranging from the noise pop of C86 to the Baroque sounds of the mid-’60s, and ultimately come across like a warm hug from a friend when one is really needed. Their debut album, Combustible Gems, was a jangling, peppy delight, and their 2025 LP Thinking, Dreaming, Scheming! adds some upgraded production values, stretches out a bit musically, and makes good use of a coat of reverb applied in the mixing stages. The band worked on some of the songs with Gary Olson of Ladybug Transistor, and that totally makes sense…
Album number 25 from the extraordinarily prolific Black Watch, the power pop/1960s mod project of John Andrew Fredrick is even more expansive than usual. It’s a double, for one thing, clocking in at 21 songs and 67 minutes, and elaborately arranged, incorporating strings alongside standard rock instruments.
The long form allows Fredrick to try on any number of rock-adjacent styles, from the plaintive, near-folky minimalism of “The Hook Stuck,” to the echo-shrouded, Black Angels-esque garage of “Much More,” to the Apples-in-Stereo-style fuzz bop of “Surely You Rally.” Sure, it’s mostly mildly psychedelic Beatles/Kinks lineage guitar rock, akin to the output of other lifers like the Bevis Frond and Anton Barbeau. However, there’s….
Bay Area indie group Ryli’s new album, Come and Get Me, is fueled by friendship and a love of classic pop songwriting.
…This is a new band, offering its first full-length after only a handful of singles, but the principals have been around for a while. Singer Yea-Ming Chen headed her own Yea-Ming and the Rumours, while guitarist Rob Good helmed the hard-edged, power-poppy Goods before throwing in with the singer. Luke Robbins is a vet of Yea-Ming’s old band, and also our friend Ray Seraphin’s eponymous band, while drummer Ian McBrayer played in Healing Potpourri.
It’s worth noting that the latest item on Yea-Ming and the Rumours’ bandcamp site is a cover of the Velvet Underground’s “Pale Blue Eyes.”
On a surface level, Cincinnati rockers Smut have nothing but an open road in front of them. The DIY hopefuls were plucked from their local scene and signed to Bayonet Records, who issued the band’s breakthrough 2022 LP, How the Light Felt, introducing the band’s lush pop sensibilities to the world. Their Bayonet debut was, without a doubt, a runaway success, allowing Smut to break genre barriers while introducing the five-piece as empathetic, melodic indie rockers unafraid to let their vulnerability guide their music.
What started as a project between guitarists Andie Min and Sam Ruschman has evolved to include drummer Aidan O’Connor, songwriter Tay Roebuck, and bassists John Steiner. With a cemented lineup and a strong buzz, a lot is changing in…
