Category: indie


Six years is a long time between records, but These New Puritans – Essex-born brothers Jack and George Barnett – have always worked at their own pace, with a steely-eyed disregard for trends.
Their previous album, Inside the Rose, also resulted from a six-year gestation process. The band exists outside the current musical climate to a large degree, showing unwavering focus on the bigger artistic picture.
With Crooked Wing, their fifth and perhaps most audacious album to date, they return not with a bang, but with something stranger, subtler, and more unsettling: a deeply textured soundworld that shudders under the weight of machinery, memory, and melancholy.
Like its title suggests, Crooked Wing is…

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“Green Day goes from raging against the machine to milquetoastedly raging for it,” billionaire Elon Musk recently pouted when the pop-punk icons altered ‘American Idiot”s lyrics to attack the MAGA brigade. Goes to show you can’t buy common sense, eh? Whether rolling around the East Bay in the early ‘90s with anthems for the jilted generation, or explicitly wearing their politics on their sleeve for the aforementioned state-of-the-nation address, it’s always been pretty clear what side of history Green Day are on. Still, gather all the Karens and colour them red, white and shocked.
But where are we now? While the band’s 2020 predecessor ‘Father Of All Motherfuckers’ was a sharp blast of young, dumb, jukebox pop-punk – skipping the politics and the all-too-obvious…

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Bill Orcutt’s Music for Four Guitars is a bit like a favorite dish. It tasted great the first time, delicious the second, and by the third, you’re starting to realize that it’s endlessly renewable. HausLive 4, an audience recording that was taped at Chicago’s Constellation venue and released on cassette by a local label, is that illuminating third edition. Whether the guitar nerd in your life throws down with a boombox in the backyard or a Bluetooth speaker in the shower, it’s the summer party soundtrack that they might not have known that they needed. But they do.
First, some history. Orcutt arrived at the original album after several years spent trying to answer a friend’s dare to compose a guitar quartet. He eventually reached a concept:…

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Let’s not beat around the bush: Camila Domínguez, aka Lila Tirando a Violeta, is one of the greats of modern electronic music. Her ability to traverse ambient, industrial, psychedelia, bass, and club music, as well as the various rhythms of her native Uruguay without ever tripping up on any one of them rates somewhere well beyond impressive. And though the dream-like, meandering nature of her early work, and the sheer volume of her output (20+ albums and EPs in the past decade) has made the world a little slow to catch on, she’s only gotten more confident with time — and Dream of Snakes is easily her hardest-hitting record yet.
Her last big release, 2023’s Accela for Hyperdub, was dense and jagged, full of swarms of microsound that could overwhelm you if you…

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When they released Should I Stay or Should I Go?, Nouvelle Vague were as seasoned as the 1980s new wave hits they turned into bossa nova-flavored pop on their 2004 self-titled debut album. They celebrate the 20th anniversary of Nouvelle Vague’s release by steering away from the experiments with original material on I Could Be Happy – their last album with late founding member Marc Collin – and getting back to basics. They do this cleverly on a reworking of the Specials’ “What I Like Most You Is Your Girlfriend,” transforming the original’s creeping jealousy into flirtatious cocktail party banter backed by a swaying bossa nova rhythm and synths that sparkle like champagne. For better or worse, Should I Stay or Should I Go?’s theatricality also reflects the years the group spent touring…

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Stockport indie giants Blossoms have always had a nostalgic sonic infusion throughout their music and Gary is another shining example of that. The glassy gorilla was the inspiration and indeed the lynchpin for the band’s fifth studio album.
With production from long-time collaborator James Skelly from The Coral and collaborations with Jungle’s Josh-Lloyd Watson and Irish singer-songwriter CMAT, ‘Gary’ is chock-full of glittering riffs, intoxicating hooks and exuberant bass lines. The vibrant dancefloor vibes are emblazoned throughout the album, and especially so with the effervescent ‘I Like Your Look’. The band collaborated with the fantastic Mercury Prize nominated CMAT on this track and it has the potential to be a Blossoms…

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Art can be a healing experience. That’s certainly the case with Ilichna Morasky, the Chilean-born, Canadian-raised multidisciplinary artist based in Copenhagen. Releasing music under the moniker Strangerfamiliar, Morasky implemented synths, percussion, and her profoundly expressive voice on previous EPs, Fire Under Water (2015) and La Secuencia (2017). Recorded at home over several years and across three different continents, her first full-length album, La Pena, began in Santiago, Chile, as – according to the press notes – “Morasky went in search of connection, some time to regroup and discover a new path forward.”
The haunting first single, “Flower”, sees the titular life form expressing joy at providing beauty and comfort and understands that its death…

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Maybe there’s something in the cold air that makes it easier to unleash emotions. Emo group Arm’s Length, from Ontario, certainly have no problems in this regard. Though they aren’t a household name, if you visit the right subreddits, they’re surely a sensation — these fans in the know are aware it’s only a matter of time before the band breaks out. There’s a Whole World Out There is the four-piece outfit’s second release, coming off the tail of touring and struggles with mental illness. Lyricist and vocalist Allen Steinberg poured his heart, soul and blood into this release alongside the rest of the quartet. With killer riffs and unique instrumentation from brothers Jeremy and Jeff Whyte and Ben Greenblatt, Arm’s Length has made a fantastic record that pop punkers and…

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Workers Comp raises a raucous, twanging ruckus on this self-titled debut, spitting home-spun poetry about dead-end jobs off the back end of a bucking blues-vamp. Disappointments are rife, the struggle is real, but it’s always music o’clock somewhere, and that’s something to celebrate.
A stripped-down trio, Workers Comp marshals the talents of Deadbeat Beat’s Joshua Gillis on guitar, Luke Reddick of Divorce Horse on bass and Ryan McKeever of Staffers on drums. Fair warning, however, the new band sounds not much at all like any of its three predecessors. Instead, it evokes the humorous wallop of the Strapping Field Hands, and the drunken rave-ups of Hootenany-era Replacements. This country viewed through a cracked mirror, amped up and…

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Is trip-hop as a genre (or subgenre) still around in any shape or form? Well, maybe not by name it is not mentioned much, but in concept and spirit it seems to be, particularly if you consider the new album by London guitarist, producer and multi-instrumentalist Sheldon Agwu and what he has come up with on his latest album Kintsugi.
Agwu, who has previously worked with the likes of Jordan Rake and Bonobo, among others and has worked as musical director and house band guitarist for established London venues such as Jazz Cafe, XOYO, Unit 31 and NT Loft, has been coming up with solo projects since 2021 (3 EPs), seems to be mainly immersed in how to creatively strike a balance between live instrumentation with electronics and hip hop rhythms.

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Sam Beste has played with Amy Winehouse, Beth Orton, and MF Doom, but as the Vernon Spring, the British pianist-composer-producer takes a more experimental route.
On his second album, Under a Familiar Sun, Beste layers, loops, and strings together field recordings, vocal samples, spoken word, and spare piano melodies, forming an allusive/elusive collage. Beste keeps things short — the album’s 12 tracks average about three minutes in length, but the collision of widely different elements can often make each piece seem like several songs superimposed over each other. The rampant multiplicity never feels schizophrenic or jarring — the tracks often run together or float into each other, with sparse motifs recurring throughout.

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…Live bonus tracks recorded in Los Angeles 2013/2023/2024.
If ever there was an album for Mark Kozelek’s true cult of admirers, Benji is it. Despite the trademark intimacy in his songs, Kozelek has usually concealed himself behind them. Not here. These nakedly confessional songs are adorned by his voice, nylon-string guitar, and sundry instruments and voices. The record is haunted by the ghosts of his native Ohio. Named for a 1974 kids film he liked as a child, Benji is exceptionally wordy. Once Kozelek begins unspinning his life, he can’t stop. Lines collide and mundane details combine with memories and shift quickly, making songs sometimes difficult to track. In opener “Carissa,” he returns to Ohio for the funeral of…

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BIG|BRAVE’s preternatural instincts and depth of skill as musicians are on full display on their most naked and austere record to date, OST. The trio entered the studio with broader concepts and themes in mind, but no preconceived music.
The overarching concept was to make a film score for a film that had yet to be created, to use minimal instrumentation, or more specifically not their standard band instruments, and to improvise within these parameters.
“Although this record could stand on its own, we envisioned it being paired with moving images, which introduced a fresh and exciting way of working,” notes guitarist Mathieu Ball. In addition to forgoing their usual instrumentation, they notably built their own. Ball created a stringed…

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Under Certain Light and Atmospheric Conditions is built upon two years of live shows, soundcheck improvisations, and field recordings.
It is a 38-minute dreamspace of jet lag, melatonin supplements, roaring crowds, and failing technology.
Frost was joined by Greg Kubacki of Car Bomb, an original contributor on Scope Neglect (2024), and audiovisual composer Tarik Barri.
They were also accompanied by sound designer Carlos Boix, whose recordings of the past year of live performances has seamlessly been woven into the album by Frost.
Three of the tracks —‘ Tritium Bath,’ ‘Chimera,’ and ‘Turning The Prism’ — come directly from Frost’s Scope Neglect, while the remaining cuts…

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As The Antlers and Okkervil River prepare for another collaborative tour, they’ve released a new live album that collects material from their tour together last year.
The songs on Band Together are “taken from the collaborative portion of the show,” Peter Silberman writes, “where we join forces to become an Antlers-Okkervil supergroup.” He adds, “We spent a lot of time winnowing down the many live recordings from those shows to find the very best performances, and the end result truly gives the feeling of being there.”
Band Together features Silberman and The Antlers’ Michael Lerner, Okkervil River’s Will Sheff and Julian Cubillos, and was recorded in DC, San Francisco, Los Angeles, and Copenhagen.

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Fans of electro pop connoisseurs Metronomy may recognise the wispy vocal of spill tab from her inclusion on their 2021 release, Posse EP Volume 1. Take a deeper dive into the LA-based French-Korean musician’s back catalogue, and you’re introduced to the boundless, bilingual creative, hurdling over genre expectations and combining English and French lyrics in a sultry manner.
Being a debut album, it’s no surprise that spill tab – real name Claire Chicha – has spent three years honing the sound of ANGIE, cherry picking her favourite tracks from that time. Working alongside her close-knit community of collaborators, what she’s landed on here is a combination of her boldest work yet. Utilising vintage synthesizers, analogue sounds and earned…

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Back in 2023, Cardiff’s Gareth Bonello, stage name The Gentle Good, released Galargan, an eight-song set spanning under forty minutes and consisting of guitar, vocals and some sweeps of cello. A beautifully modest album, Galargan saw Gareth eschew collaborations that had been present on previous albums (Lisa Jen and Cate le Bon, among many others) and bring his singing and guitar playing to the fore.
Fast forward to this year’s Elan, and we see a change from Gareth, with a wonderfully rich, multi-textured album of thirteen songs hitting almost double the run time of Galargan.
Elan is a concept album of sorts, a study of the Elan Valley in Powys through music, recorded off-grid in the Cambrian mountains.

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Three years ago, Breton producer Émilie Quinquis decided, for pragmatic reasons, to learn to sail solo. Living on Ushant, an island with a landmass of six square miles off the cost of Brittany, she wanted to be able to come and go as she pleased. As she grew more confident at the helm, she graduated to travelling further out – to the Irish Sea, around islands off Scotland and north to the Faroes. These journeys, a sense of Quinquis placing herself at the mercy of the elements and being amidst a world that ebbs and flows, rises and falls, came to shape her music. Eor is thus an album you can hear as a collection that reflects the sea’s different moods. To take just one example, ‘The tumbling point’ has a gathering urgency so that the middle of the song becomes…

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