Category: indie


…The expanded tracklist appends rare live versions of tracks like “Fat Lip,” “All She’s Got,” “Crazy Amanda Bunkface,” “Machine Gun,” and “What We’re All About”.
It would be a mistake to view Sum 41 as just another second-rate band cashing in on the early-’00s punk-pop boom, even if it did recruit Jerry Finn to produce All Killer No Filler. Just as Finn had done for both blink-182 and Green Day, he charges Sum 41’s punk-pop with a razor-sharp edge, the sort of dynamic in-your-face sound that helps this music cross over to MTV and radio so well. Besides the notable production, a lot of credit should go to the band as well. Its songwriting is obviously more diverse here than it was a year earlier on its debut album,…

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The newest offering from pianist/composer Marco Benevento, Glera, finds the artist expanding his sonic palette, working with different vocalists to score the retro Italian movies playing in his head.
Benevento was heavily inspired by Italian film scores and melody for this album, which uses cinematic lines on every track, providing emotion and depth to the mostly instrumental tunes. Benevento plays more of a role as composer/leader here; a jamband veteran, Marco lets the songwriting be the focus throughout Glera as the tunes run short, set the visual scene, and move on. Opening with the excellent “Frizzante”, the joyful instrumental bounces along with a sunshiny feeling and could have been a theme song to a 70’s television show with its bright,…

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Snow Patrol’s Eyes Open album is receiving a special deluxe reissue for its 20th anniversary.
Eyes Open, originally released in April 2006, marks Snow Patrol’s fourth album. It features six singles, including “Hands Open,” “Set the Fire to the Third Bar,” “Open Your Eyes,” “Shut Your Eyes,” as well as the Top 10 hits “You’re All I Have” and “Chasing Cars.” The LP was the best-selling album in the UK at the time of its release, selling over one million copies. It also hit No. 9 on Billboard’s Top Rock Albums chart and is certified 8x Platinum.
“Chasing Cars,” the alternative rock band’s most iconic and biggest single to date, peaked at No. 6 on the UK Singles Chart and No. 5 on the Billboard Hot 100. The tune also earned nominations for Best Rock Song at the 2007 Grammy Awards…

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All the Beauty is Pete Yorn’s new album, arriving via Shelly Records. The 11-song release marks his third full-length collaboration with Jackson Phillips of Day Wave, continuing a creative partnership that has shaped Yorn’s recent run of records.
Built around Yorn’s signature mix of alternative rock and melodic indie songwriting, the album expands on the breezy, guitar-driven sound the pair established on Caretakers and Hawaii. The title track, released ahead of the album, sets the tone with a focus on staying present and recognizing moments of beauty in everyday life.
The record was produced by Jackson Phillips and Pete Yorn, with Phillips also handling engineering and mixing. Across its 11 tracks, All the Beauty balances understated arrangements…

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Sydney’s Body Type — Sophie McComish, Annabel Blackman, Georgia Wilkinson-Derums, and Cecil Coleman — are a band who clearly don’t believe in hanging about. Two early EPs preceded their sparkling debut album, Everything Is Dangerous But Nothing’s Surprising, in May 2022, then, before anyone had quite caught their breath, Expired Candy turned up just over a year later in June 2023. Since then, though, the quartet have taken some time out, focusing on life and various side projects, which meant the wait for album number three, Tally, has stretched to a whole three years. By Body Type’s own hyperactive standards, that’s practically a My Bloody Valentine-sized gap.
But it’s been worth the wait. Tally is an album that fizzes with ideas, bristling with sly wit…

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The Strokes’ stock is pretty high in 2026, definitely higher than it was in 2016, and maybe even 2006. This year marks the 25th anniversary of their classic debut, Is This It? Their recent tour, the band’s first in 20 years, saw them light up a multigenerational audience of young olds and old youngs. Their standing isn’t only based on nostalgia either: Though the last Strokes album, 2020’s The New Abnormal, got a little lost in the Covid malaise, its standout hit, “The Adults Are Talking,” has as many Spotify streams as “Last Nite.” Meanwhile, the biggest indie band around, Geese, is undeniably post-post-Strokes, even if the band members were still in their strollers back when Julian, Albert, Fab, Nick, and Nikolai owned the night. Not a bad legacy to keep rolling into…

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Robyn Hitchcock has spent nearly six decades as a singer-songwriter and raconteur, thrilling fans with his wry, whimsical and often surreal view of the world. Now in his seventies, he returns with his 25th solo album, The Confuser, and it does not disappoint. Recorded in his adopted hometown of Nashville, Tennessee, the album features an excellent supporting cast, including Jeremy Fetzer on guitars, Todd Bolden on bass, and Eric Slick on drums and percussion. It was recorded by Brad Jones and includes guest appearances from Gillian Welch and Hitchcock’s former Soft Boys bandmate Kimberly Rew.
“When I decompose I will be part of everything,” announces Robyn Hitchcock on ‘I Am This Thing’, marvelling at the fragile wonder…

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If not for Scary Stories To Tell in the Dark — Alvin Schwartz’s infamous anthology series of folk stories that have haunted grade school book fairs for decades — The Garden as we know them might not exist. Ever since twin brothers Fletcher and Wyatt Shears began releasing their brand of sun-bleached, goofball punk rock in the early 2010s, they’ve cited the book’s influence on their work with Biblical reverence and referenced its nightmare-inducing illustrations in the cover art of side projects. The true parallel, however, is structural: Where Schwartz’s writing was succinct and vernacular, so too is the twins’ output across The Garden’s six studio albums and various EPs (and sprawling network of alter egos).
In recent years, the typical Shears song has…

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If there were a collective appreciation of dramatic album intros of the year, then Babylon, the latest offering from The Huntress and the Holder of Hands, would definitely be a big part of the conversation. Like a film where the opening shot is a post-apocalyptic barren landscape, smoke from a recently grounded fighter jet still billows, fragments of civilisation lie broken and motionless, nature fights back amid scattered rubble, and, above, a clear blue sky appears impossibly tranquil and unattainable. Then heaving into view comes a solitary human frame, still very much alive but lost, lonely and desperate among the overwhelming destruction that surrounds. That very place, or at least a personalised assimilation of it, is where this album drops us with…

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DeForrest Brown Jr. was born on a military base in Tampa and raised in Birmingham, Alabama, where his grandmother worked at the jail where Martin Luther King was held. He played trumpet and tuba in school marching ensembles, moved to New York in 2013 to write music criticism for Mixmag, Resident Advisor, and Artforum, and eventually co-founded the Make Techno Black Again campaign, which started as a meme, became a clothing line, and hardened into a serious political position. His 2022 book Assembling a Black Counter Culture spent 432 pages arguing that the music industry built a global economy around a Black art form and systematically cut Black people out of it. His four Planet Mu albums, from Of Desire, Longing in 2019 through Techxodus in…

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Attention should definitely be given to the remarkable sound design achieved by ambient-electronic artist Hollan Holmes on The Sanctity of Rust; his maturation as a composer and conceptualist impresses even more, however, and marks the release as a high point in this Texas-based sound sculptor’s career. The sound design first: among the hardware and software listed on the release’s inner sleeve are the Korg MS20 and Oberheim Matrix 12 plus tools such as Native Instruments, Arturia Pigments, and Spectrasonics Omnisphere; custom samples and FM synthesis also played a part in the project’s production. He’s no purist, by the way: Holmes is happy to work acoustic sounds into a composition if the music requires it, which means one shouldn’t…

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At the age of 72, “Evil” Graham Lee, the legendary pedal steel pioneer and veteran of the iconic Australian band The Triffids, delivers his first ever album under his own name titled I Think I’m Alone Now. In addition to his work with The Triffids, Graham’s place in ambient history was cemented in 1990 when his evocative pedal steel became the soulful centerpiece of The KLF’s masterpiece, Chill Out (specifically on the highlight “Baltimore to Fair Play”).
…He’s recorded with Robert Forster and Cut Copy. But for nearly a decade, he has used his Bandcamp page as a repository of ongoing experiments, from ascendant longform instrumentals and aleatoric collages to exquisite and tender tributes to late songwriters like John Prine and…

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For listeners drawn to the quietly adventurous music of Aldous Harding, Cate Le Bon or Jessica Pratt, Half Truth, by California songwriter Avery Hellman, who performs as Ismay, will feel like a welcome discovery. Folk, americana and indie influences intertwine throughout the album, producing songs that are musically understated yet emotionally rich. These are not songs that announce themselves immediately. Instead, Half Truth rewards patience, revealing carefully observed lyrics and subtle arrangements that slowly gather emotional weight.
The title track introduces one of the album’s central concerns: the difficulty of honest communication. “Half truth I’d like to disappear” becomes both confession and defence, as…

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Cellist and composer Janel Leppin returns with Slowly Melting, the simultaneously released solo companion to her Ensemble Volcanic Ash: Pluto in Aquarius set. Leppin plays cello, guitar, bass, a Prophet-Five synth, and piano in compositions, improvisations, and soundscapes for cello. Over eight pieces recorded at The Brink in Richmond, Virginia, and one at Janel’s Room studio, she articulates a genreless space where her own musical obsessions including jazz, chamber music, experimental improvisation, and rock, become a holistic entity greater than the individual parts.
Opener “Zonk” weds plucked cello strings, guitar, droning synth, and distortion; Leppin finds subtle melodies that emerge under the primary theme; spaces and textures wind around…

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…Bonus CD featuring 4 extra tracks.
London trio Mary in the Junkyard cheekily dub their sound “weepy chaos rok”, but they often summon something far more: an intricate magic weaved from vocalist and guitarist Clari Freeman-Taylor’s poetic, observational eye and freewheeling arrangements, equally informed by wiry math-laden contemporaries and elegant classical stylings. After a tireless couple of years and adventures stateside (a two-month tour with Wet Leg included), Mary in the Junkyard have gone from courting Corsica buzz to counting fans in Marina Abramović.
Facing their long-awaited debut upon this new foundation, Role Model Hermit opens self-reflexive: “It is yours babe, you deserve it,” Freeman-Taylor pronounces on ‘Mantra III’,…

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Roberto Carlos Lange and Fabi Reyna feel like kindred spirits. Long before they met two summers ago, they were making music — as Helado Negro and Reyna Tropical, respectively — building their names with heart-on-your-sleeve electronic and indie-folk songs that touch on diaspora, longing, and love.
On their collaborative record, Helado Tropical, these two worlds naturally collapse into each other, as the seasoned emotional excavators lean into their shared strengths. The result goes down as easy as mango-champagne sorbet.
These nine songs—or perhaps seven, since “Luna” and “Sol” (another iconic pair) flow seamlessly into and out of the floaty, syncopated standout track “Fluye”—were born from a three-day…

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