Category: indie


Asked to imagine sounds associated with the islands off the coast of Spain, the first thing you might think of is balearic dance music. But the three members of Lagoss shine a light on the less-recognized Canary Islands, using balmy ambience to conjure oceanic topographies and hypothetical coastlines.
Founded by Discrepant label head Gonçalo F. Cardoso, along with Mladen Kurajica and Daniel García — who cut their teeth in the electro-acoustic act Tupperware — Lagoss flips exotica tropes into playful audio-visual experiences. Across a handful of thematically nuanced releases, Lagoss has retooled Tropicália for the modern age. “I’m a huge fan of the genre of manufactured worlds, almost like a science fiction thing,”…

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For her third Common Holly album, Montreal singer/songwriter Brigitte Naggar rejoined her longtime collaborator and co-producer Devon Bate while incorporating a couple of firsts: Anything glass is her first long-player to be recorded in a proper studio, and it was tracked mostly live (except for overdubbed multi-tracked vocals). What hasn’t changed is the quality of adjectives like “intimate,” “textured,” and “patient” to describe Naggar’s gentle, probing songs. “I’ve got these terrible hands,” is the repeated, allegorical opening line of first song “Terrible hands,” a reference to the consumerist tendencies of many of us as creatures on a planet in decline. While the concept is somewhat heavy (this line is later echoed by “We’ve got these terrible plans”),…

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In shifting away from the stripped-back intimacy of his recent “Portable Herman Düne” trilogy, David Ivar – the driving force behind Herman Düne – has created something quietly remarkable with Odysseus. Where those earlier records were rooted in acoustic minimalism, this new album opens up into lush, often magnificent orchestration – arrangements that glide effortlessly between the symphonic and the folk-like, without ever losing the eccentric heart of Ivar’s songwriting. Rather than clashing with the band’s homespun sensibility, the strings feel organic – like they’ve always belonged, just waiting to be let in. Tracks are elevated by these arrangements, their emotional clarity sharpened by cinematic swells and delicate countermelodies.

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The Cure release Mixes of a Lost World, an album of remixes of songs from last year’s acclaimed Songs of a Lost World.
Standard 2CD and 2LP editions feature brand new remixes from the likes of Four Tet, Paul Oakenfold, Orbital and more. Both discs feature all eight tracks from the album in remixed form. Deluxe three-disc sets (3LP and 3CD) add additional remixes and reworks from Chino Moreno (Deftones), Mogwai and 65daysofstatic, among others.
The third bonus disc adds all eight tracks from the album, giving you three versions of the record in remixed form. The 3LP set is half-speed mastered and comes with a poster, as does the 3CD edition. Both versions (two-disc and three-disc) are available on cassette.

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Lyra Pramuk started singing at a young age, yet she always felt like a musical outsider. She cut her teeth in Pennsylvania church choirs before attending conservatory, her ostensible plan to be an operatic baritone; in her 20s, she shifted gears and became a denizen of Berlin dancefloors. Her destination has always been more idiosyncratic than anything she could find in a particular medium, genre, or career model. “I only set out to make an album because everyone told me I had to,” Pramuk self-effacingly told The Quietus in 2020, hot on the heels of her now-classic debut, Fountain. “I’ve been very much in my own world, so I feel kind of naïve about all of this. I’m more likely to want to talk about Susan Sontag or aesthetics.”
Fountain was composed entirely of Pramuk’s…

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At the tail end of his teens when he founded the beloved Australian indie label Chapter Music in 1992, Guy Blackman had also spent time in the Melbourne indie pop bands Sleepy Township and Minimum Chips by the time he finally released his first solo album. Introspective, charmingly wry, and vulnerable in character, 2008’s Adult Baby (Blackman would later reveal) left him feeling “a bit scarred,” a reference to the reception of some of the album’s personal queer perspectives.
Not eager to make more music of his own, he threw his energies into label operations until, about 15 years later, changes in the sociopolitical landscape and within his own attitude prompted him to re-enter the songwriting ring. His first album in 17 years, Out of Sight was recorded…

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Throughout their short yet prolific career, The Bug Club has undergone many changes. What started as a blues-rock revivalist group has evolved into an artsy indie rock outfit, centered around cheeky songwriting and subtle experimentation. In 2024, it was announced that The Bug Club had signed with the prestigious Sub Pop Records, marking yet another major shift for the energetic rockers. Their Sub Pop debut, On the Intricate Inner Workings of the System, landed in 2024 and introduced The Bug Club as a daring, punk-tinted rock band unconcerned with genre norms and expectations. After plenty of sonic toiling, it would appear that The Bug Club has landed on a sound they can call their own, which brings us to a crossroads as we near the release of…

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…The new reissues feature remastered audio.
Wasting no time in the wake of the Gallagher brothers sudden 2009 implosion, Sony released the deluxe Time Flies 1994-2009 retrospective in the summer of 2010, just in time for the 15th anniversary of (What’s the Story) Morning Glory?
The driving idea behind Time Flies is to collect all 27 of Oasis’ British A-sides, a simple idea that would seem to fit one of the great singles band, but sticking to the singles winds up leaving many great songs behind, including their manifesto “Rock & Roll Star,” “Champagne Supernova,” the lovely “Talk Tonight,” and Noel and Liam’s duet “Acquiesce,” among many tremendous B-sides, “(What’s the Story) Morning Glory” and “Champagne Supernova,” to name a few.

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Nick Prideux’s cover image is a perfect summary of the music found within. A window is open to a sun-dappled vista: placid sea, beckoning island. A light breeze causes the curtains to billow while a young woman takes a languid nap, or simply lies on a bed, daydreaming. The outside represents the future, the adventures that wait for us when we’re ready; the inside is an invitation to luxuriate in the moment while sinking into a reverie of the days gone by.
Goldmund (Keith Kenniff, who also records as Helios and Mint Julep) explains that the album is about the experience of time, from fleeting moments to valued days, and the ways in which time may either drag or fly, depending on one’s experience. Even in a single day,..

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Philadelphia power-trio Labrador bills themselves as “MAXIMUM ALT-COUNTRY” (caps theirs). This felt like an apt description for the sound of their last album, Hold the Door for Strangers, a self-released tape which trafficked in sad-sack ballads, story songs and heavy electric twangs reminiscent of the Drive-By Truckers school of songwriting and production. Their third record, My Version of Desire bursts free of the conceptual constraints of alt-country with teeth firmly clenched, invoking the amphetamine drenched, wire tight chord changes and soul/reggae influences of the poppier end of the UK post-punk spectrum. Groups like The Jam, Rockpile, and Dr. Feelgood seem to be the touchstones here, and like Nick Lowe or Paul Weller, singer/songwriter and guitarist…

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Over the decades, the image of Kompakt as a pirate ship has taken root in our minds, braving the dangers of the seven seas of the music market. Sometimes it glides with a tailwind through calm waters, sometimes it has to survive violent storms. When we set sail in 1993, we never would have dreamt that our journey would still be going on after more than three decades and with 500 releases to date.
In our fast-paced business, the 500 mark is rarely reached, so we want to celebrate it with a lavish 5LP box set. In a democratic process, we have selected 50 pearls from the thousands of tracks released over the last 33 1/3 years and pressed them onto 5 brightly coloured vinyls. Alongside many Kompakt evergreens, there are also some real…

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Curt Kiser’s Carriers returns with their sophomore effort, Every Time I Feel Afraid, released on the Dessner brothers’ Brassland Records. Kiser is Cincinnati through and through. Some tracks on his new record even feature the National‘s Bryan Devendorf on drums. Notably (and unrelated to the Queen City), the War on Drugs‘ Dave Hartley (bass) also performs on a handful of songs. These connections bolster the LP, but rather than being propped up, Every Time I Feel Afraid stands as a testament to Kiser’s continued commitment to playing music for a living.
The record is another positive step for Carriers, as it showcases more sophisticated production and displays a newfound confidence. However, the songwriting can come across as overly…

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…Taking divine inspiration from mood masters such as Ennio Morricone, Paul Motian and Bill Frisell, Chrome Hill squeeze every nuance of feeling, passion and promise from Asbjørn Lerheim’s spacious compositions on this 7th full-length (the first two recorded under the quartet’s previous moniker, Damp). Combining dexterous arrangements with scintillating passages of free-improvisation, the group forge a uniquely atmospheric soundtrack raised in tribute to the indomitability of the human spirit, an album borne of personal trial and tribulation. “This music was written during several stages of grieving,” explains Lerheim. “It traces the ups-and-downs of my daughter’s severe epilepsy, and all that has followed with this life-altering diagnosis.”

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Nine years after their last release, 2016’s Born of the Sun, Faun Fables returns with Counterclockwise, an album that signifies an evolved approach to their brand of psychedelic folk, drawn from North American and global traditions and filtered through their own canny writing and arranging skills. Counterclockwise is a family album: Multi-instrumentalists/vocalists Dawn McCarthy and Nils Frykdahl enlisted their daughters — Edda, Ura, and Gudrin — to contribute vocals, keyboards, and percussion on these 16 songs. It took five years of preparation to record, though some songs date back to the early 2000s. In addition to 11 original selections are covers by the Bee Gees (“Black Diamond”), Yes (“Wondrous Stories”), Thom Pace (“Maybe” from,..

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Jacob Alon’s passion for music started with the discovery of an acoustic guitar that had been stowed away in their grandmother’s dusty cupboard. But Alon’s route to recording their debut album was more circuitous than it might have been. A commitment to music was preceded by unrewarding stints at medical school and the study of theoretical physics. Ventures pursued, Alon later reflected, to the benefit of others rather than themselves.
In Limerence then is the product of deliberate action and agency. Alon’s fingerpicked playing sounds like busy spiders scuttling up and down the guitar’s neck in search of a new home, as if Alon were still playing the instrument they found in their grandmother’s cupboard and had…

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In less than a ten-year span, Subsonic Eye have established a deep catalog across jangle- and indie-pop spectra. On their 2023 album All Around You, the Singaporean five-piece refined their signature snappy hooks with a renewed appreciation for the natural world’s entanglement with their urban milieu. Ever enraptured by nature and their surroundings, Subsonic Eye have dedicated much of their music to celebrations of their environment.
Their fifth album, Singapore Dreaming, centers their hometown through a more focused lens. Where All Around You comprised a space to sit with the complex feelings inspired by the intense world we inhabit, Singapore Dreaming is that intense world itself — Subsonic Eye’s interpretation…

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SAVAK is on its seventh album now, long enough that we should maybe forget our obsession with where its members came from (Obits, Edsel, The Cops, Holy Fuck, Enon) and concentrate on where they’re going. Decades of playing time in the aughts and 1990s’ best loved post-punk/art-fucked-garage bands has certainly honed their skills, but tight competence is less a box than a springboard. They’re bouncing off in all directions on the excellent Squawk! without ever flailing out of control.
Dusted unpacked the dual songwriter structure of SAVAK last time out, noting that while Sohrab Habibion and Michael Jaworski come from slightly different parts of punk rock universe, they now meet in a fruitful middle.

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Grist for romantic misfortune never runs out. New York trio Triathalon — Adam Intrator, Hunter Jayne and Chad Chilton — have been busy at the mill producing 15 ways to leave your lover, or not. All this confusion is semi-whispered as interior dialogue over a mix of slowcore tropicalia and dream-pop sprinkled with the occasional outburst of restrained 1990s indie loud.
The band members, who met at the Savannah College of Art and Design, cite the Pixies and Nirvana as influences on Funeral Music, but it largely sounds more like a murkier albeit funkier kin to Josh Haden’s Spain. Self-aware young fellows mooning over the unbearable weight of being that guy, expressed with requisite spite towards self, other and life, has long been…

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