When Chelsea Wolfe was interviewed by the Guardian in 2015 about her fourth album, Abyss, she revealed that her music had been informed by the bouts of sleep paralysis she’d suffered from since childhood. The condition – a transitional state between being awake and asleep – affects sufferers in different ways. Some wake up feeling paralysed, others see ghosts or demonic figures. For the California-born singer-songwriter, it meant “waking up, and you can move your body and your eyes are open, but there are figures and people from your dreams still present in your room”.
No surprise, then, that her music – a blend of drone, alt, folk, industrial and doom metal – had ended up so spookily unsettling. She appeared on album covers with pupil-less eyes, spoke…
Category: indie
In the latter portion of their recording career, The Cramps seemed to lose their calibration of the giddy perversities that propelled their best music. There’s a distinction to be drawn between being in on the joke, winking, even drooling, and being the joke itself. Songs like “Bikini Girls with Machine Guns” (1990) or “I Wanna Get in Your Pants” (1991) reduced the band’s fascination for the demented kitsch of American pop culture to kitsch itself, repetitions of gestures that were empty in the first place. You can forget what a feral, fearsome force the Cramps were, as the 1970s spilled into the 1980s like fluid from the bottom of a split trash bag. Gravest Gravy features the band on the cusp of that fearsomeness, capturing the results of the Cramps’ 1977 Memphis recording…
Even for longtime fans, the Afghan Whigs still have some surprises left in them on Soft Control, the fourth release of the reunion era. Greg Dulli has always been an album man, and Soft Control follows the Whigs 2.0 blueprint in this regard: ten tracks, not quite 40 minutes, and a track sequence that makes you adapt a side A/side B mentality. Soft Control front-loads its most accessible tracks on side A, and side B begs to be listened to on headphones.
“Jungle Roux” kicks off this collection with a slithery synth before Dulli joins in, sounding as good as ever. It contains many Whigs signatures, but blends them in a new way. In a way, it’s as bold a start to the album as the roaring, Stooges-like “I’ll Make You See God” from 2022’s…
As a fearless thought leader named Todd once argued, Weezer have had a far more interesting career than fair-weather fans who stopped listening after their first two albums realize. It’s been a turbulent ride through beautiful highs and brutal lows — sometimes within the same song, as on 2022’s wildly uneven SZNZ EP series. It’s not always been fun, but it’s certainly been interesting.
The missing ingredient, even throughout Weezer’s best post-millennium moments, has been the production. Increasingly, it sounds like frontman Rivers Cuomo makes albums sitting in front of a laptop with his guitar plugged directly into the interface with an amp sim in his DAW. Heavier rock material like 2021’s Van Weezer and the following year’s SZNZ: Summer has never hit quite…
Visions of Sodal Ye, is eerie and disorientating – the sound of ecological dread – and named for the prophet character in Brian Aldiss’ 1962 novel Hothouse, who realises that life on a far-future Earth is doomed. The record was released by a vanity publishing label who never said ‘non’ as long as they received a fee and a tape. While this should be inconsequential it reveals much about the French counterculture at the end of the ’70s.
Claude Cuvelier and Jean Skowron, the two provincial northern French music nerds who created Mar-Vista, wanted to reach a big audience but suffered countless knockbacks from ‘real’ French labels. The pair came to the conclusion that “the recording industry in France wasn’t interested in our kind of music” and could…
After releasing six albums of varying heft under his Melaina Kol alias between 2016 and 2022, Nashville’s Logan Hornyak has taken longer over this one, time spent adding strings to a sometimes literal bow. Up to now, his output’s been decidedly loose and unbuffed indie pop, like an even lower-fi Sufjan Stevens combining a fragile voice, acoustic guitar and cheap electronics, all held together with paper glue. For Okay that’s a great idea because if I do that then, he’s learned cello and harp, remembered some ancient piano lessons and found inventive ways of making solid song-like shapes out of them. The results are still small and delicate, but the focus is new.
First, the fibs: Hornyak claims to have moved away from guitar and electronics for this, but…
When you run a record label, no matter how big or small it is, and you are an artist yourself, you have the possibility to spread your wings as wide as you can, no matter how good (or not) it is.
Philadelphia’s Douglas Dulgarian has such capabilities. He runs an up-and-coming indie label (Julia’s War), plays in tagabow and They Are Gutting a Body of Water, but also spreads his ideas, along with Scott Turner (hooky) and Sam Silbert (hooky, circle of fire) in a project that goes by the name of god of war, which just released its second album molly picture.
When you have the freedom to abandon any restrictions it can often lead you to excess, but this trio of musicians seems to have found quite a good balance between…
Comparatively speaking, Rotherham appears in the news more than most British towns of an equivalent size. And much of that news is not good. Much of it is representative of poverty, social disenfranchisement, and the ugly face of flag-waving Britain. But self-released, 2020s grass roots indie rockers The Reytons offer a reminder of working class community power, a band who hark back to the days when the only way out of big city estates was through football and pop.
Their last couple of albums (of four, including this one), made it to No.1 and No.2 in the UK album charts, respectively. This quartet aren’t some music-journo-acclaimed-for-five-minutes flash-in-the-pan. In 2024 they put on a 20,000-capacity concert in Rotherham’s Clifton Park,…
Over the last few years Kurt Wagner has increasingly used Lambchop as a vehicle for musical exploration, with albums like This (Is What I Wanted to Tell You), Showtunes and The Bible reimagining the sound traditionally associated with the name. Much of the experimentation in sound was centred around his vocals, which were often processed through software and devices such as vocoders and autotune.
On Punching the Clown there’s still an on ongoing preoccupation with the human voice but the approach is different, primarily being focused on how voices complement each other rather than how they can be manipulated into different shapes. Alongside the human voice another key sound on the album comes from the banjo,…
…CD edition features the Bob Dylan cover “In the Summertime”.
Margaret Glaspy’s latest album, I Am Both, is a low-key masterwork of observational wisdom, lilting melodies, and sharp wit. She delivers her stinging lines with a conversational ease, wielding the authority of hard-won experience over ringing guitar licks that echo the guilelessness of her storytelling. Her intimacy compels us to immediately identify with the singer, even when she is singing about people other than herself.
…On songs such as the dreamy “Common Ground” and the more somber “Petty”, the singer bites off lyrics about mutual disappointments. She keeps the lyrics simple to show how basic and trivial spitefulness can be, and at the same…
A running theory: The youth yearn for breakbeats. The frenetic electronics of Nineties dance music have rumbled beneath the surface of indie rock and pop for some time now. The current wave of new acts — think Fcukers, Underscores, and of course, PinkPantheress — wield the sound with an uncanny magnetism, as if communicating from a post-digital future. Ear, the London- and New York-based duo comprised of Jonah Paz and Yaelle Avtan, who met while students at Bard College, have become the type of buzzing indie band you used to hear about in the mid-2000s, fitting as the renaissance of that era’s sounds points to a more spiritual than aesthetic concern.
Following the release of their debut single, “Nerves,” in 2024, the pair have built…
Incorporating field recordings and other organic sounds into a keyboard-heavy atmosphere is nothing new. Still, Ben Dexter Cooley is a master of this genre, and Forager shows him doing it with grace and eloquence. St. Silva is Cooley’s electro-acoustic project, described on his Bandcamp page as a “musician, researcher, and creative technologist”. Forager is a composite of material recorded months before its recontextualization. “Time creates distance,” explains Cooley, “sometimes a healthy distance, between the art and the artist,” shares St. Silva. “This is a document, a marker of where I was during a moment of time and the sounds that inspired me.”
An overwhelming sense of calm envelops the listener immediately, as “And the Catbird Sings”…
Martin Newell has been releasing wonderful, distinctly British psych-pop as The Cleaners from Venus since the early ’80s. He’s kind of like the UK’s Robert Pollard or R. Stevie Moore, with a seemingly endless well of earworms, all recorded at home on whatever equipment is at hand. (He’s actually written a book on home recording.)
Beryl & Ruff Go Shopping is the umpteenth Cleaners from Venus album, made on an 8-track Portastudio, and it’s pretty hi-fi as far as their records go.
At this point, Newell’s got a signature sound — jazzy, orchestral pop influenced by The Kinks, The Beatles, and other sunshine psychedelia — and a vocal delivery that leans into the Britishness of it all and is as distinctive as his melodies.
The key track gives the album its title. “Where the Fades Meet” opens with swelling strings, which are swiftly underpinned by groovy, shuffling, percussion. The lyrics are carried by a chorale singing of a “fading signal”, “stillness” and “shadows.” It seems to about what lies in the gaps between the perceivable. The melody has a vaguely eastern Mediterranean lilt. Overall, it leans into evoking an exotica-inclined Rotary Connection – the late-Sixties/early Seventies outfit that was a core influence on acid jazz.
“Where the Fades Meet” is the sixth track on the seventh album – there has also been a compilation – that Andy Dragazis has recorded under his Blue States guise. The first, Nothing Changes Under the Sun, was issued in 2000.
An atonal meeting of the minds with David Watson on highland bagpipes and small pipes, and Bill Nace on 5 and 2 string taishōgotos and harmonica. Simply listing the instrumentation should be enough to thin the herd on this blistering full-length platter. But far from being a collection of traditional tunes from their respective motherlands, or some sort of angular take on cultural appropriation, On Bats delivers a sound world situated firmly in the saddle of a shared singular vision. Watson and Nace approach their instruments and compositions with an endurance and intensity that make a false chord growl sound like one-dimensional cartoon fodder.
Similar to his taishōgoto work on the stream of LP’s Nace has released on his Open Mouth…
In 1923, the young French novelist André Malraux trekked through the Cambodian jungle to Angkor, the ruins of the ancient capital city of the Khmer Empire, to steal bas-reliefs from the Banteay Srei temple. He intended to sell the art in London or New York, but was caught and sentenced to three years in prison.
That is, until France’s leading writers, among them future Nobel laureate André Gide, petitioned for his acquittal by arguing that Malraux’s potential as an author was simply too great to squander because of a youthful indiscretion.
This example of cultural colonialism is key to Saphy Vong’s new album as Neo Geodesia, Oknha Stamina. Born to Cambodian parents, Vong grew up in Nancy, France — right near…
Tiarn is a gorgeous sophomore record by Australian ambient-folk producer, composer and multi-instrumentalist Hana Stretton. It follows her 2023 debut album Soon, which, like its predecessor, comes alive off the record, existing as a living and breathing tapestry of sound. Where Soon found its focus on the fires and floods of the Australian bush, the latest project casts its gaze on the endless shores of the Pacific Ocean, where Stretton’s boundless textural explorations reflect a world suspended in blue.
Living in isolation near the ocean, overlooking the winter migration of Whales, Stretton would regularly swim for 20 minutes during the ‘blue hour’. Ideas would crystallise into existence as she submerged into icy salt water, and melodies…
…Arriving 26 years on from its original 2000 release by the Fuzzbox label, and after a 2003 reissue via Beggars imprint too pure, the album has been newly remastered by Sean Magee at Abbey Road Studios.
Sure, the title is ironic. But its aim is good. ‘My Pain And Sadness…’ wields irony as a savage weapon rather than a smug, self-serving joke; this is the sound of McLusky’s kangaroo court convened – a self-appointed culling force, dead set on weeding out cynical three-chord punk fakers by sounding a lot like Sonic Youth re-recording ‘Daydream Nation’ at double speed. In an abbatoir.
Blood, guts, righteous fury – they’re all things the Yanks are currently churning out in factory-line proportions, and at first, it seems…