Category: indie


Musical Instrument Digital Interface (aka MIDI) has such a pervasive presence in the musical landscape that it’s easy to take it for granted. Yet, when it first appeared in the early 1980s, the standard felt miraculous. Back when technology was more meaningful, MIDI’s ability to bridge physical and digital domains meant that devices like synthesizers and keyboards were suddenly able to talk both to each other and to computer programs. The protocol has countless applications today, many of them purely software-based, but this particular facet remains its most fascinating, even serving as a core aesthetic principle for acts like Berlin’s Gamut Inc.
Since the early 2010s, Aggregate Festival founders Marion Wörle and Maciej Śledziecki…

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In its opening moments, Blasé Saint seems easy to pigeonhole. “Lifelover” begins with the muted thump of a kick drum, a migrating flock of reversed percussion hits, and a keyboard line that sounds like an Angelo Badalamenti DX7 patch poached from some nerdy producer subreddit. Its palette, swaddled in an ASMR-ready mixture of cassette hiss and field recordings, gives “regulation dub techno.” But before you can get too comfortable, the song pulls you into its undertow; five minutes later, it spits you out in a wholly new place. Atonal loops bloom and fold into themselves, while the drums and synth, repeating on an infinite cycle, get subsumed by gigantic bass frequencies. It’s intense and impressive, dumping a familiar bag of tricks onto the table and rearranging…

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Iridescent jangle nirvana. Visceral punk energy. Mournful folk-accented vocalese. Stinging oaths of love and hate, with occasional chipmunk harmonies. The third Tubs album contains this and more, to the delight of all who enjoyed the first two Tubs albums for the abundance of said qualities. One of its 12 songs, however, breaks new ground. Opening with a groovily offbeat drum pattern, ‘Do Yourself a Favor’ bops onto the dancefloor amid frantic guitar downstrokes and an incessant keyboard riff deserving of its own hand-jive routine. This is actually a Prince song, albeit one with complex provenance and never released in his lifetime. The Tubs infuse it with their Celtic-tinged shimmer, while the lyric could almost be one of Tubs songwriter Owen Williams’…

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Twenty-five years is an awful long time in electronic music – but that’s how long Simon Green, aka Bonobo, has been applying his beat making craft. Working from the early days with Tru Thoughts, where he established himself as an original producer capable of incorporating different styles and cultures into his work, Green has extended the spirit of collaboration to instrumentalists and vocalists alike.
On his watch the careers of singers such as Andreya Triana have been enabled to flourish, with Green’s talent of writing for the singer as much as the song a key feature of his work. With his live following now at a feverish peak, where do we find Bonobo’s music a quarter of a century on?
The answer from Distance in Static is that his…

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…10th anniversary deluxe remaster features the original 9 tracks (remastered) along with 5 previously unreleased bonus tracks.
Devil Is Fine serves as Manuel Gagneux’s debut release through this one-man project, as he smashes extreme music against African American spirituals alongside a lullaby-inducing electro triptych.
Black metal is perverted through Come On Down’s tremolo-picked fury and shrieking, but then it’s into gorgeous blues croons, classic metal riffing, and back to Satan squeezing Manuel’s knackersack. Whether the genres run in tandem or successively, the blend’s never jarring. Children’s Summon is basically In Flames at their melodeath best channelling Rotting Christ.

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Some Velvet Sidewalk was first active between 1987 and 1997 as a band in Olympia, Washington, that worked with K Records. Because of this, they were sometimes wrongly associated with the twee sounds of some of the K roster, when their albums were in fact louder, more unruly, and more experimental, while still being connected to the openhearted excitement and embrace of possibility that was emblematic of so many Olympia bands of that era. Critters Encore is the first new album from Some Velvet Sidewalk in 29 years, and it conveys the same energetic and oddly angled take on rock & roll as when the band last left off. Created by founding member Al Larsen on guitar and vocals, longstanding drummer Don Blair, and a rotating cast of different bass players,…

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There is something pointed about calling your record It Is Clear What’s Going On in 2026 and then responding with lyrics that show no interest in meeting the listener halfway. Debt Rag are not being glib. Or rather, they are, and that’s precisely the point.
Glasnost, the late Soviet-era principle of saying the thing plainly because the pretence had become untenable, is a useful way in. When the word entered circulation, the world felt as though it was shifting beneath everyone’s feet while nobody could quite explain why. Debt Rag’s own statement is so steeped in deliberate irreverence that absurdism starts to resemble the only rigorous critical position left. Brainrot doesn’t register as a symptom here so much as a methodology.

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CFCF‘s discography is a sort of nostalgia loop time-warp, delving into the sounds of the past from a present-day lens. During the 2010s, he frequently mined new age, soft rock, and smooth jazz for inspiration. With Liquid Colours, he revisited the moment when “electronica” was poised to take over the world, particularly drum’n’bass, and the ambitious Memoryland was a collision of all things ’90s and Y2K, from grungy alternative rock to French filter house.
With L.U.V., the now Los Angeles-based artist moves on to the type of electropop that regularly soundtracked hipster dance parties during the 2000s. For an artist who initially became buzzed-about for remixes of acts like Crystal Castles and HEALTH, the album comes close…

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Ka Baird is known for passionate, unpredictable vocal performances. Whether solo or in collaboration with others, Baird’s kinetics tend to be the focus. Their latest release, Thinking Music (For Just Intonation Rhodes Piano), sounds like quite the departure, and indeed it is.
No vocals here, no collaboration, no exploration of a physical space. (Though the piece was written for live performance.) It’s a 40-minute piece, in four movements, for solo Fender Rhodes. The twist is that the Rhodes is retuned in just intonation. This isn’t your Herbie Hancock-loving grandfather’s Rhodes.
A just-tuned Rhodes is a pile of contradictions, and Baird’s exploration of them is what makes this album compelling. Individual tones…

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Šimanský Vaľko Podracký pick up where Spacemen 3 left off. The Czech-Slovak trio of experimental musicians apparently share Pete Kember and Jason Pierce’s guiding principle of “taking drugs to make music to take drugs to”. The group’s psychedelia was inherited from the freewheeling 1960s, a decade when Western music – from rock to minimalism – was infused with the meditative transcendence of sustained tones. But the most important question is left unanswered: what drugs to take to make drone music to take drugs to? The album’s title may offer some cues.
Born of spontaneous free improvisation sessions, K-drone is the joint journey of three psychonauts: experimental guitarist Jakub Šimanský, hurdy-gurdy player Michal Vaľko and…

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The deluxe edition expands on the original February 2026 release with added bonus tracks like “Heartbeat,” “Hunter,” “Skýjaborg,” and “Infinity”.
On Julia, his fifth studio album, acclaimed Icelandic folktronica musician Ásgeir steps outside of his comfort zone and eschews his father’s voice. The poetry of Einar Georg Einarsson and Júlíus Aðalsteinn Róbertsson, a friend, had provided the lyrics — sometimes via translators — of Ásgeir’s previous compositions. Now, at 33, he’s standing on his own.
It’s evident from tracks such as “Quiet Life” that Ásgeir can be a capable lyricist. “Stare into the water/ See myself swimming in the sky/ Every part of me comes to light,” it begins. It’s a song that could be about a romantic partner or…

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Atlanta’s Ultra Lights are a nostalgia act, if only because they make scuzzy millennial garage rock in the year 2026, when not even the Strokes seem very much interested in sounding like the Strokes. This shit is classic rock now: Is This It is 25 years old, Brooklyn is no longer the hipster center of the universe, and those Converses you used to wear now need insoles. Atlanta may not be an obvious hub for upcoming indie rock acts, but on their debut, Pleasure’s All Yours, Ultra Lights are doing their damn best to make Atlanta sound like early-2000s New York City in a way that would make John Rocker’s head explode.
A quarter of a century later, the zeitgeist has so far been reluctant to revive that early aughts indie rock sound. Ultra Lights arrive with…

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When these guys strip down to the basics, they don’t joke around. Ondanaconda is a quartet of Geneva-based musicians with connections that extend into nearly every conceivable genre, certainly into every corner of the city’s experimental scene. They include a clarinetist, a vocalist, a multi-instrumentalist, and a composer for electronics. Yet here, on the self-titled Ondanaconda album, they play four jaw harps.
Sure, yes, there is some electronic manipulation in the mix. But less than you’d expect. Most of the time, they twang away, letting the harps harmonize and the overtones sing. The band name seems to mean something like “wave-snake” (“wave” from the French onde), which pretty much sums it up. The sound waves are undisguised,…

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Summer is ending. We must not say this out loud; it is a hard pill to swallow. For many people, summer has already ended; vacations are over, classes have begun, the water has cooled. zakè‘s Tide Requiem for the Low Sea is a long, slow, poignant goodbye, holding on until the very last moment, like the last bit of a small island before it is submerged.
The physical representation is gorgeous: a double-sided picture disc, suitable for framing, showcasing photography by Tom Meluch (Benoît Pioulard). The images inspired both the music and their titles. One can imagine clinging to one of these peaks, like Blake Lively in “The Shallows,” albeit with more sadness than drama.
Each side contains a single track, logging in at 22:46. The title track occupies…

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Michael Barker spends a lot of his time playing guitar in garage punk bands in his Sydney hometown scene; he also records under the name 1-800-Mikey, which is a reference to his job in a call center. Under that name he makes lo-fi bedroom punk and garage that’s self-assured, confident, hooky as can be, and full of jangling, slicing guitars. IN YUN is the second album he’s released and it’s a sugar sweet confection that will appeal to fans of the Ty Segall and O Sees school of rock, the one where they teach that the sweatier and more immediate the sound the better. Barker certainly got top marks in class because the album is super punchy and full of the kind of hooks that sink in deep on first listen. Most of the songs are revved-up garage rockers…

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If it is a truth universally acknowledged that a singer-songwriter in possession of a large songbook must be in search of a band, then Oisean Burnett has gone about things in the right way. Following a move from his native Scotland to London in 2024, he papered the musicians’ hangs with posters seeking bandmates, and Starter Car is the happy result.
Their debut album, Afterlight, follows the release of four previous singles, with opening track ‘Throwing Down’ serving as the fifth.
A busy live band, Starter Car have built a following in relatively quick time, and videos of gigs at places like The Windmill in Brixton and The Shacklewell Arms show a core band of guitars, bass and drums. The album was recorded in…

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