Into the Sky is the realisation of a project six years in the making. With the need to keep active during lockdown, former Late of the Pier singer Sam Eastgate – aka LA Priest – made a dance record entirely from sampled material, devising his own form of house music in the process. Yet the finished product sat in the studio while Eastgate completed his guitar-based third album Fase Luna in 2023.
More recently, however, Eastgate revisited his work in the company of producer friend Alex Ridha, aka Boys Noize. Their challenge was to wring as much emotion as possible from the voice and just two accompanying instruments. These are a drum machine – a Gene built by Eastgate himself around a decade ago – and a synthesizer,…
Category: indie
The discourse surrounding the Linda Lindas is more telling about the state of the music industry than of the band’s actual music.
It’s impossible to ignore the cultural criticism associated with the quartet of Lucia and Mila de la Garza, Eloise Wong and Bela Salazar, who rose to fame on the back of a 2021 viral video of them performing a song entitled “Racist, Sexist Boy” at the Los Angeles Public Library. Take one quick Google search and hordes of comments calling the Linda Lindas “nepo babies” or “industry plants” will immediately become apparent.
While people have been quick to blow the whistle on nepo babies lately, one can’t help but notice such labels are disproportionately wielded against women, especially racialized women.
Ty Segall has a new album because it’s been a whole year since the last one, and Segall doesn’t seem at ease until he can hit a studio and record all of the ideas floating around his mind. The prolific artist has released 18 studio albums, plus three collaborative albums and several projects with other bands over just 18 years.
Despite the constant output and frequent changes in bandmates, Segall has been remarkably consistent in churning out top-notch garage rock. Chrome continues that success with one of his heaviest albums to date.
For this album, Segall reunites with The Freedom Band, made up of guitarist Emmett Kelly, bassist Mikal Cronin, drummer Evan Burrows, and Ben Boye on keyboards and piano.
Jim James’ first solo album in eight years finds him dealing with human disconnection in an age of chronic overstimulation. He uses a term he coined to describe this feeling as the title, Wowed Out.
Modern sensory overload in an age of technological wonder, somehow leaving us more alone, is something James grapples with throughout the record; however, this wasn’t a thematic plan. The album was assembled when James dug into recordings he’d created with his longtime friend, award-winning composer Brian Reitzell (Lost in Translation, The Virgin Suicides). These tracks were meant for different projects, but all share an underlying theme, as James calls it, of being Wowed Out.
The layers of instrumentation and vocals can…
Forty years on, The Jayhawks remain true to their trusted sound. Their lush and patented three-part harmonies and thoughtful, imagery-filled lyrics never go out of style. Their 12th studio album, Sanctuary Park, is a balm for these times. They capture the innocence of teenage years, reflecting from the perspective of adulthood. The opening track, “Keeping Our Heads Above Water,” begins with the line, “under the football lights,” immediately putting the listener in a nostalgic frame of mind. Yet, the upbeat music obscures the theme of resignation heard at the end, “taking all that you have to believe again.” The album’s most riveting track, “Hands on the Wheel,” begins this way in a cappella harmonies, ‘We’ll steal your daddy’s car/Roll down the window…
A chandelier of CCTV cameras hangs down from the cover of Interpol’s eighth album, a portrait of both the band’s DNA and of this record. Their sound has always been one of elegance, but coloured by the gloom of a very urban modernity. On ‘This Mirror Weighs a Ton’, the New York indie heroes are feeling watched by the modern world, while also reflecting on their own worth.
There are generally more eyes on Interpol in 2026. Their new record label Partisan (also home to IDLES, Geese and PJ Harvey) reports that more than half of the band’s 2.5million monthly Spotify listeners are under the age of 35. It’s a rare feat for a band of their vintage to have a following beyond 6 Music dads, but there’s a new generation taking up front rows of gigs, devouring their…
When J Mascis set up his home studio in preparation for Dinosaur Jr’s sixth album since their 2005 reunion, he decided to use a ’70s Mesa Boogie MK 1 amp for the first time since their 1985 debut Dinosaur. Independently but simultaneously, Lou Barlow was making his own nod to the past, incorporating on one song the distorted sound of a shortwave radio that he’d taped during the band’s first European tour and originally used on 1987’s You’re Living All Over Me. These two decisions say a lot about Dinosaur Jr in 2026, as Barlow and Mascis concurrently but separately reference their past, in a way so subtle and classy that nobody except them would even know they’re doing it. It’s a way of creating a bond to your history without disorientating the listener with…
During the first wave of post-punk, the bulk of its practitioners lived in nations with undeniably agit-worthy issues. But they weren’t faced with anything like the existential chaos that’s been a day-to-day reality for generations in Lebanon. In other words, Beirut bands like Scrambled Eggs have a right to roar, and then some.
Scrambled Eggs’ first recordings appeared in the early ‘00s, but the quartet wound up drinking deeply from the late 1970s/early ‘80s post-punk well of bands like Gang of Four, The Pop Group, et al. The explosive energy and sociopolitical unrest at the core of those 20th-century sounds is surely something four young men raised in Lebanon could take to heart in a whole different way from their fellow post-punk revivalists further…
Pioneering Arabic/Western fusion singer Natacha Atlas returns alongside creative and life partner Samy Bishai – a violinist and composer who has served as Atlas’ musical director since 2010 – with an album dedicated to the people of Palestine.
The lead single, ‘Unchanging Game’, sets a suitably sombre tone. Processed beats and hand percussion mix with subtle electronics and keyboards. Atlas’ voice remains as smooth and compelling as ever. ‘Zar’’s experimental edge trickles and bubbles with cut-and-splice vocals.
‘Wana Leih’ displays an ultra-modern R&B gleam yet sacrifices little to commercialism. ‘Dawsha’ ticks, clicks and sways across an ambient, trip-hop landscape. ‘Bahlam Biyoum’ rains stirring melodies over a romantic, digital…
…5CD box set anthology of B-Sides, rarities and archive material from Toyah’s recording history for the Safari label (1979-1983).
…Revelations provides an alternate history of the Toyah Wilcox-fronted new wavers by way of B-sides, outtakes, instrumentals, alternate versions, home demos and live tracks.
Record label Cherry Red say that “it has been designed to perfectly complement the album catalogue reissue programme”.
Remarkably, given how comprehensive the individual album reissues were, 50 of the 102 tracks on Revelations are previously unreleased. The box has been compiled by by Toyah archivist Craig Astley alongside Joel Bogen, co-founder, composer and guitarist with the band.
When an artist breaks away from the path they know best, there are two expected directions they can take: either they’ll continue to make the same kinds of music they’ve always made, or they’ll sprint in the opposite direction. When the robots known as Daft Punk decided to call it quits, the humans behind the masks became free to make that choice. For Guy-Manuel de Homem-Christo, at least so far, the choice has been to step away from most acts of musical creation beyond acting as a producer for the likes of Sébastien Tellier, Travis Scott, the Weeknd and Rosalia. It’s hard to blame him for not working harder; after all, when you and your creative partner become one of the most iconic electronic music duos in the history of the genre, you don’t really need…
Lebanese vocalist Sandy Chamoun‘s second solo album is inspired by Sardinian polyphonic folk music the Arab ecstatic forms, modernized by synths from her SANAM and Ghadr collaborator Anthony Sayhoun and percussion from Ali Hout.
If you caught either of those heavy SANAM albums – but especially 2023’s Aykathani Malakon – then you’ll already be familiar with Chamoun’s voice, that carries the Beirut-baed band’s hallucinogenic blend of folk, free jazz and acid rock. On her own, however, Chamoun gives her voice even more room to breathe, following loose historical threads to re-interpret concepts that surge through her music. The album’s title means “the sound of tears” and it directly addresses the war and genocide in the Levant; Chamoun looks to tarab,…
There is something immediately intriguing about Dum Evol. Brighton’s Moon Attendant have created an album that feels rooted in the psychedelic sounds of the 1960s while refusing to settle comfortably into nostalgia. Across ten songs, guitars, keyboards and violin combine in ways that can be playful, dreamy, mournful or deliberately unsettling. The results will not be for everyone, and there are moments when the music feels as though it might collapse under its own eccentricity. Yet there is plenty to enjoy here, particularly for listeners willing to follow the album wherever it chooses to go.
The Sounders establishes the mood immediately, its retro-psychedelic sound providing a suitably strange introduction. The lyrics are equally…
…features a compelling remix package, alongside original demos of the album tracks, including new single, “Together (Demo)”.
British electronic duo Maribou State came into their own with Kingdoms in Colour, their exceptional 2018 full-length. With that album, they evolved from a melancholy post-dubstep act to a more exuberant, hopeful group with a fleshed-out, globally influenced sound. Kingdoms in Colour was a U.K. chart success, and the pair toured extensively throughout Europe and North America. However, both Chris Davids and Liam Ivory faced health issues when they returned from touring, not to mention the worldwide lockdowns and everything else that happened during 2020. The duo kept writing new material…
Kassel Jaeger (aka François J. Bonnet) returns to Shelter Press after Swamps / Things, Shifted in Dreams, and the recent reissue of the classic Zauberberg, co-composed with Akira Rabelais and Stephan Mathieu. With this major new album, entitled Sub Re, Bonnet continues his long exploration of the musical possibilities of sound, extending the concrete approach developed at the Groupe de Recherches Musicales, the historic and essential Parisian studio that Bonnet has been directing since 2018.
Sub re, in Latin, can mean “under the thing, under the substance, under the matter.” It’s precisely this direct approach to music, drawing on the extraction of raw sound material, that forms the basis of this album.
The first thing you might notice on Sequoia Feinson’s latest album, So Long, is the warmth and directness of the songs and his arrangements. Opening track “Protegé” eases into your ears with a calm, midtempo groove, fingerpicking guitars meshing with electric piano and trumpet. The title refers to the model of car that’s being immortalized in song: “I drove an old Mazda my brother handed down / From the kindness of his being / I wish that car was still around.” Songs about cars are as old as the invention of the car itself, but Sequoia finds a way to attach his long-lost vehicle to memories of youth and make it seem fresh, relatable, and irresistible.
Sequoia currently resides in his hometown of Portland, Oregon, but So Long was produced…
When the Blood Brothers returned in 2024, Johnny Whitney was so energized by the run of shows that he never wanted it to end. He expected his bandmates to feel the same. They played to their largest crowds, including headlining the Best Friends Forever Festival. When it became clear that the Blood Brothers were not going to become an ongoing concern again, Whitney and fellow Blood Brother Cody Votolato began work on the songs that would become Evil Island’s debut. It is a welcome return that showcases evolution and growth for everyone involved, and it’s chaotic, unsettling fun.
From the opening track, “Melted Heart”, Terraform the Afterlife is a blast of Whitney’s screech and noisy, catchy guitars, so fans of his…
Formed in 2018, the Bristol quartet emerge some eight years later with their first full-length. The record succeeds three EPs released between 2021 to 2025, ranging from the fierce and raw, grungy and economical post-punk of their self-titled debut release to ‘Anything for You’, a five-track collection highlighting increasingly expansive production and instrumental depth.
Their previous EP hinted at the direction of their first LP proper and then some, as Baby You’re a Winner showcases a broader palette of influences, richer arrangements, textured production, and clever vocals which move between solo singing, harmonising, and group interplay. Bolstered by the addition of fourth member and lead guitarist Polly Jessett, Grandmas House also…
