Category: indie


Seven years after their last record, The Davenports – a revolving line-up band anchored by Scott Klass – is finally back with new music, having self-recorded the latest batch of songs in Klass’s own house. The result is a mix between some of the brilliant lo-fi bedroom tapes of the 1990s and a more polished indie pop sound reminiscent of everyone from Fountains of Wayne to Teenage Fanclub.
“This whole project came directly from my brain to my hands, right onto tape,” said Klass recently. “It’s more authentic and cohesive than almost anything I’ve ever done.” The album opens on “When Everything’s Over,” a steady, mellow, there-minute, grove-heavy pop track and he manages to keep that consistent vibe across the next nine tracks.

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Sally Anne Morgan is an artist and naturalist in the purest senses. Raised on old time and Appalachian folk traditions, Morgan’s artistry embodies the rich life of the communities and natural world she surrounds herself with. Based in Alexander, NC in the thick of Appalachia, and edge of the Pisgah National Forest, Morgan’s blend of traditional technique and distinctly modern compositional approach are infused with the sounds of her garden, surrounding pastures, forests and mountains. The rhythms of nature, its flora and fauna, are inseparable from her work which is in constant conversation with the people and places around her. Second Circle the Horizon is a meditation on returning, uncovering the new within the familiar and recognizing…

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Art Schop is a performing name of Brooklyn-based British solo artist, songwriter and multi-instrumentalist Martin G. Walker and The Fifth Hammer is the fifth studio release under the Art Schop moniker. The name Art Schop is derived from noted German philosopher Arthur Schopenhauer, whose philosophy is based around pessimism; he’s very quotable, his notable quotes include “A pessimist is an optimist in full possession of the facts” and “Just remember, once you’re over the hill you begin to pick up speed“.
Art Schop’s music catalogue illustrates the scope of Walker’s thinking across a range of subjects. The 2012 LP Wolfswork was inspired by the effects of the financial crisis and parallels to the rise and fall of the Greek Empire.

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There’s an unpretentious quality to Elijah Johnston’s subjects that makes his songs deeply accessible. On Stupid Soul, the Atlanta artist covers a wide swath of topics from the seemingly mundane – the feeling of excitement around football season (in the aptly titled “Football Season”) – to weightier subjects, like the guilt of teenage sexual exploration when you are raised in purity culture (“I Know What You Did Last Summer”). Not every song has to be about love/death and our place in the world, and Johnston does a laudable job of balancing some of life’s tougher emotions with more routine topics.
The album also does a solid job of dodging classification. “Ideas,” one of the catchiest songs on the record, sounds like a 1990s alternative…

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With their third album, Haress join that rare class of bands that can honestly be described as elemental. While the tangled roots of their sound can be traced back to folk, post-rock, ambient and the more literate, gently arcane fringes of indie rock (Arbouretum, Daniel Higgs, All Structures Align), Skylarks places them at a juncture that’s hard to either pinpoint or entirely fathom.
Comprising four tracks, the album stretches and sprawls in a manner that might initially be described as ‘meandering’ – until, that is, you realise just how much intensity of purpose dwells within. Motifs are half-started, seemingly forgotten and then later reclaimed, themes rippling outward like tall tales that slowly change form as they’re passed through successive generations.

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These tracks capture Sun Ra’s electronic peregrinations during the 1970s and ’80s. The Arkestra occasionally makes a cameo appearance but Ra commands the spotlight, not so much composing music as painting soundscapes with electronic keyboards.
In the collection we’ve titled Stray Voltage, Ra is not so much composing music as painting soundscapes with electronic keyboards. Ra doesn’t simply play these consoles — he attacks, cajoles, and pounds them. He upends and transports them where they weren’t built to go. Sometimes they fracture under his assault. He steers them into the zone of intimacy and combat. They emit whirrs, hums, jolts and squiggles, crowned by explosions. Ra’s repertoire includes feedback,…

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Here’s another salvo from the power-popping, windmill chording, Nuggets-mod-turned-mildly psychedelic Smug Brothers, a four piece out of the heartland’s lo-fi capitol, Columbus, Ohio. We last ran into the band circa 2023’s In the Book of Bad Ideas, observing “Smug Brothers kick up a jangly, tuneful racket, with brash power chords and sweetly rueful lyrics, battering drums and liquid flourishes of guitar.” That’s all still in play but Stuck on Beta kicks harder and daydreams less. It’s melodic guitar pop with the lines drawn in thick black sharpie, nothing cloudy or indefinite about it.
Take the early single, “Sidewalk Champagne,” which cranks a sirening guitar lick and bumps it up with a bounce of bass.  High, not-quite-falsetto vocals keen over it all, but don’t soften the tone.

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Swiss group L’Eclair‘s music is an uncategorizable mixture of pretty much any sound that has a groove, from Krautrock and electro-disco to house and Madchester. After releasing an analog synth-heavy one-off collaboration with Klaus Johann Grobe in 2024, L’Eclair issued their most guest-heavy effort to date, Cloud Drifter.
As ever, no one influence reigns supreme on this album, but it leans a little heavier on synth-funk than the group’s past records. The brief “Run” is a sort of early-’80s mutant disco flashback, with slap bass and percolating synths backing Gelli Haha’s nonchalant vocals. “Vertigo” is a dazzling space disco odyssey impressively sequenced in 3/4 time. “Replica M001” additionally takes an unconventional approach to rhythm, opening…

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…collects material related to the group’s short-lived American Composers Series project, including remastered and expanded editions of the albums ‘George & James’ and ‘Stars & Hank Forever!’, with additional contemporary studio and live material, and thirteen previously unreleased tracks, including a suite of Sun Ra covers, interpretations of songs by Buddy Holly and Lou Christie, and a never-before-heard Residents original, “Burning with Desire”.
Produced with The Cryptic Corporation, and digging deep into the band’s archive, this set dives into the classic mid-1980s ‘American Composers Series’, featuring material originally recorded by James Brown, George Gershwin, Hank Williams, John Philip Sousa and…

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If any artist truly believes in what they are trying to accomplish, this belief can usually squash any fear or worry about a new idea or project and help it come to fruition. Meg Remy of U.S. Girls has made some great albums over the last twenty years of being an artist and on her new album Scratch It, things couldn’t be further from the artistic statements she has produced previously. Born from a special one-off gig in Hot Springs, Arkansas where Remy put together a crackerjack band of Nashville professionals, Scratch is a special blend of gospel, country, garage rock and soul all distilled together through her unique perspective. After the gig went so well, Remy took the band to Music City itself and, after a whirlwind ten-day live off-the-floor recording session, Scratch It…

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The seemingly halcyon ’90s are sounding better than ever in 2025 — Fugazi-fathered hardcore, Liz Phair feminist-pop plainspeak, and in the able hands of Hotline TNT, steaming slabs of guitar noise, Dinosaur Jr. via Teenage Fanclub circa “Everything Flows” buoyed by oceanic waves of Cocteau Twins modulations. It’s enough to make you miss the first Bush administration.
Will Anderson — born in 1989, the year Bush was sworn in — was but a tiny hood rat coming up in Minnesota’s Twin Cities then, but he caught the sonic vibe. And he’s got that low-key wistful Midwestern thing in his music, with a profound tunefulness: His folks raised him on harmony-rich Jayhawks LPs, and you know he listened hard to Hüsker Dü’s post-hardcore albums.

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Australian genre-benders and punk manipulators Tropical Fuck Storm have never been the band to pigeonhole, and it would be a fool’s errand to try. Even in its rawest form, their refreshing power ballads warp the mind and melt the face while maintaining a welcoming humbleness that makes their off-kilter rock music so accessible. Born out of the ashes of The Drones, TFS emerged in 2017 and has continually found nuanced ways to display their dense walls of sound. With three studio albums, a live LP,  a string of EPs, including a collaborative project with fellow Australian rockers King Gizzard & The Lizard Wizard, and a cult-like fanbase to back it all up, TFS’s artsy rock has laid the groundwork for even more artistic freedom. Which begs the question, what does a band…

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Those of us who are musically inclined find it hard to resist tapping on an empty pipe or an exposed bell, just to hear the sound. Matmos (Drew Daniel and M.C. Schmidt) have been doing such things for years and recording the results, from the pots and pans of their childhood to “the metallic gates around a tomb in an underground crypt.” Over time, these artists have amassed a vast library of sounds; including one set comprised of washing machine sounds (Ultimate Care II) and one of plastic (Plastic Anniversary). The new set is metal-based, and looks back on their lives while acknowledging their mortality. To our delight, their initial pot and pan joy has survived intact.
Metallic Life Review is also an album of distinct sides: the first was meticulously created,…

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Western music is obsessed with constant innovation. Maybe it always has been this way, but it seems to have gotten even more intense in the last 10 years. Seemingly every artist is expected to have “eras,” more or less radically reinventing themselves with every release. Nowadays, artists are expected to radically transform their look and style on every album.
While there’s nothing wrong with craving novelty in music, as it can often lead to bold new styles and forms, it’s also a far cry from how a lot of the rest of the world thinks about art. Historically speaking, art was about mastering a form and finding ways to express your individuality in an established medium. Ancient Grecian urns are no less beautiful for having been made by artists…

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Formed by Madison Velding-VanDam and Jason Gates in 2017, and with the addition of Yasmeen Night in 2021, The Wants’ sound is defined by the push and pull of its members’ processes: Floating rhythms upheaving grounded songwriting, pulsing synths overwhelming live instrumentation. Their new record, Bastard, is an evolution of many of the seeds planted in their debut record, Container (2020), with a refined sense of acerbic emotional urgency and sonic experimentation.
…Opener ‘Void Meets Concrete’ creates urban imagery in the mind’s eye with its stuttering, twitchy electronica; the echoey vocal and reverberating metallic sonics heighten the tension, which ends abruptly. This imagery continues on ‘Data Tumour’ – spikier and with…

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After compiling numerous anthologies charting the evolution of synth pop and post-punk, Cherry Red explores the harder side of alternative dance music with the three-disc Control I’m Here: Adventures on the Industrial Dance Floor 1983-1990. Like a lot of the label’s genre deep-dives, the set touches on several different scenes and movements within a larger whole, aiming to demonstrate the range of styles produced within the era.
Lots of big names and influential figures are present, including groups synonymous with EBM such as Nitzer Ebb and Front 242, but the focus is often on deep cuts or extended 12″ mixes rather than hits. Case in point: the compilers went with Twitch-era Ministry, rather than the group’s early synth pop incarnation or the heavy,…

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Sonically speaking, we pretty much know what we are going to get from a Milkweed record by now: elements of traditional music, freak folk, dub and spoken word, knitted together by a recording technique which is both lo-fi and uncompromisingly avant-garde. Eldritch acoustic instrumentation set up slantwise against grainy, decayed tape noise. Ancient European mythology channelled by a voice that sounds like an Appalachian ghost. But somehow the inscrutable duo always manage to come up with something entirely surprising. The secret is in the material. For their last three releases, Milkweed have sourced their songs from obscure texts: a little-known academic journal published by The Folklore Society, a 1974 text on preserved Bronze Age…

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Chloe Foy (originally from Gloucestershire) has been building a solid reputation over a number of years, with singles and EPs starting from 2013 till the release of her highly acclaimed debut album, Where Shall We Begin, in 2021. That CD largely revolved around the death of her father from depression and speaks to the grieving process that led to the song cycle on the album. The tone is rather downbeat, starting with the title track with a rather ethereal and hymnic sound.
After an album that reflected upon the effect of the death of her father, Foy now releases her sophomore album that has a different, lighter emotional tone, but with enhanced instrumentation, that is also reflective of difficulties in her life, predominantly the ending of a long…

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