Category: indie


Both an example and an explanation of a blending of two words, the fact that the name of Tommy Lefroy‘s long-awaited debut album is a portmanteau seems fitting.
While labour economist Guy Standing coined the term The Precariat takes its title from (referring to the precarious social class that began emerging in Europe at the beginning of the 21st century), almost everything about the project of Wynter Bethel and Tessa Mouzourakis exists in a perpetual state of “and,” not “or.”
Respectively from northern Michigan and Vancouver, BC, the singer-songwriters met in Nashville, but their project really got underway when both moved to the UK (“I had nothing, then I found you / Built an empire in…

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For much of their career, Editors have explored a varied range of approaches to their music. From the stark post-punk urgency of The Back Room through the widescreen ambition of In This Light and On This Evening and the industrial-electronic experimentation of EBM, the Birmingham band have spent two decades repositioning themselves while retaining a distinctive identity. On this, their eighth studio album, Surface, Echo & Sound, they take what might appear an unexpected turn, back toward their fundamentals
Following the electronic intensity of 2022’s EBM, written in collaboration with Benjamin John Power (Blanck Mass), the new album emerges from a markedly different creative process. Frontman Tom Smith arrived with stripped-back…

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A project built around lead singer/songwriter/guitarist Bobby Townson and his sister, singer and miscellaneous instrumentalist Emma Townson, who also does the band’s artwork, British Birds emerged from Chorley, England, in the early 2020s. The D.I.Y. outfit, which has rotated bassists and drummers, essentially hand-sold their first two albums at shows and few record shops. Their eclectic sound — which assimilates numerous vintage pop/rock styles (cool ones), from garage pop to ’60s mod music and Beatlesque hard rock, ’80s college rock, arty punk, classic indie pop, and more — as well as their witty, anti-establishment spirit, came to the attention of the U.K.’s Skep Wax Records, which signed on to release their third album. It features bassist…

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Michael Gordon‘s Field of Vision transforms percussion into an expansive study of resonance, rhythm, and spatial perception. Written in 2022 for 36 percussionists and commissioned by the Caramoor Center for the Arts, the work uses specially constructed tuned instruments alongside industrial metals, wood, gongs, bass drums, and 24 brake drums. Performed by the University of Michigan Percussion Ensemble under Doug Perkins, this world-premiere recording captures a composition in which the physical arrangement of the players is as important to the musical experience as the sounds they produce.
The opening section establishes Gordon’s approach gradually, with sustained resonances, low-frequency pulses, and bright tones…

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…In a way, the Picture project is all about this kind of study, as applied to the tools of techno. Via careful filter sweeps, unconventional sample arrangements, and canny operation of the left-right stereo image, Dane Natal Zaks messes with the proprioception you’d expect from a tracky club record, as if turning dials inside your skull. Each track uses minimalist gestures to suggest cavernous inner dimensions.
“Quuuuuuu” bolts shakers and white noise to a high-stepping kick pattern, pulls a stuttering synth taut across them, plays catch-and-release with reversed snares in empty air, and sends ping-ponging percussion to reel off in the distance. Rarely does a techno record generate so many action verbs so elegantly.

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Henry O Henry likes to point out that even after 30 years, he is essentially “an Irishman in New York”. The key reason is that coming up with Apocrypha, his debut album at not exactly an early age, is a very personal thing. He also notes that he is “formally and informally not a musician”.
So why all these notes? Because this is all very personal to him, as it is probably to all singer-songwriters around, but the key there is: how able are they to transfer all that is personal and make it accessible to all the listeners that decide to encounter their personal stuff and make it count for them. Make that personal general.
Henry O Henry is able to that on his debut Apocrypha completely and in full. Maybe it is all the years of personal experience, or it could…

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The band Great Lakes was formed in Athens, Georgia, in 1996 with members Ben Crum, Dan Donahue, and Jamey Huggins, and from there, the numbers grew, with a revolving cast of musicians from the local scene involved, until, by 2008, Crum was left as the only permanent member.
The Elephant Six Collective plays a part in the early days of Great Lakes; the Elephant Six Collective being a number of bands all connected to four friends in Ruston, Louisiana, who shared a love for music and exchanged homemade cassette recordings, the friends went on to form bands such as The Apples in Stereo, Neutral Milk Hotel and The Olivia Tremor Control. Originally part of the Elephant Six Collective’s Athens-based second‑wave, connected through the people…

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Few musicians can name a chiptuned guitar sketch “Artrock” and be taken seriously. One of them is Leo Fincham, a precocious Londoner whose songs evoke irony-tinged earnestness and referential irreverence, the sorts of tensions terms like “art rock” were invented to resolve. Along with Rowan Please of the Femcels, he helms the madcap duo Worldpeace DMT, whose debut, The Velvet Underground & Rowan (2025), stuffed a thrift store’s worth of sounds — Glockenspiels! 8-bit consoles! Broadcast footage! — into mechanically precise music, as if childhood memories could be exported as sample packs. The resulting RAM space is evident on Stick Around for Tea, a slighter record with the ragtag splendor of a low-budget musical. More remarkably, its metaphorical…

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veneration for the sacred action is the first compilation release by london-based independent record label life is beautiful records.
…The London collective — part label, part event series, part multidisciplinary arts project — has operated for the last three years as a porous, community-led platform where music collides with poetry, live performance and visual art. Favouring physical presence over perpetual online visibility, the seven-strong group has fostered exactly the kind of scene from which new musical languages tend to emerge.
“I think the sheer volume of shows, recordings and releases we’ve put on over the last three years — and even before that — has really helped shape the artistic relationships that have…

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Three hours of music about water is an audacious proposition. But not, perhaps, for Slovak label Mappa, which for the past decade has made a habit of asking listeners to slow down and pay attention, releasing records that move between field recording, electronics, and idiosyncratic folk. Synthetic Water Music might be Mappa’s most expansive undertaking yet. The second installment in the label’s Synthetic series, following a 2023 collection dedicated to birds, it brings together several dozen artists whose contributions founder Jakub Juhás has arranged in a multi-layered journey through liquid states, aquatic environments, and drifting visions.
While Synthetic Bird Music focused on animals and their sounds, both real and imagined,…

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…deluxe edition feature 25 tracks spanning 1 hour and 34 minutes. It appends the original 13-track record with a bonus disc of B-sides, acoustic takes, and early home demos from 1997.
Two years following the tragic demise of Lush, guitarist Emma Anderson formed the dream pop outfit Sing-Sing with vocalist Lisa O’Neill (Locust, Kid Loco) in 1998. The pairing couldn’t have been more magical, for Sing-Sing presented a glowing dynamic. By fall 2002, American indie fans finally got their hands on the duo’s debut album, The Joy of Sing-Sing; it had been previously released in Europe a year earlier, but the stateside release was worth the wait.
The Joy of Sing-Sing showcases Anderson’s signature vocal shimmer. O’Neill is a matchless…

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Not everyone has heard Grumpy, but hundreds of thousands of people have heard Heaven Schmitt. The North Carolina-raised, New York-based singer-songwriter began lending backing vocals to Zach Bryan in 2024 after connecting through a mutual industry friend, and was later hired to the Americana megastar’s touring band earlier this year. With Bryan, Schmitt — whose output with Grumpy leans towards off-kilter, experimental indie pop — has belted mainstream country hits like the Kacey Musgraves duet “I Remember Everything” to sold-out stadiums full of beer-drinkin’, trucker-hat-wearin’ devotees; just call Schmitt “Theycey MusGayves.”
Maybe you’ve noticed that country music has been popular lately. In the past few years,…

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Full Scrotal Scorpio stands out as one of the most fascinating art-rock/art-punk records in recent memory. Much of its appeal lies in an unconventional approach that could easily seem limiting on paper: building an entire rock album around the piano rather than the electric guitar. Yet across these twelve tracks, the piano proves more than capable of carrying the music, delivering a sound that feels both distinctive and compelling. Remarkably, there is never a moment when the absence of guitars becomes noticeable. Instead, the arrangements feel perfectly suited to the songs, making it difficult to imagine Full Scrotal Scorpio sounding any other way.
Behind this glorious racket is Kristeen Young, a New York-based artist who has spent…

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On each album since In Standard Definition, Art d’Ecco‘s music has changed drastically, but his social commentary always felt like the perspective of a wry outsider.
On Scheele’s Green, it finally sounds like he has skin in the game. Named for a vivid, deadly pigment used in 18th and 19th century paint, toys, and food dye, his fifth album tackles the proliferation of AI data centers, climate change, corrupt politicians, and war — as well as humanity’s age-old compulsion to literally and figuratively foul its nest — with palpable rage and grief.
Where the precision of d’Ecco’s pop was one of the main strengths of his previous albums, on Scheele’s Green he colors outside the lines. On songs like “How Real Is Real,” which pairs…

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Projecting energetic alt-rock across the globe, Sydney group The Buoys channel anthemic melodies and an unmistakable chemistry on their sophomore record Concrete Cowboy.
Speaking on the origins of the nature of the album’s creation, the band state that “we were in the studio together when the phrase came to us: too many tabs open. That became the heartbeat of the record”. It is no surprise that the constant overload of information, lack of direction and social exhaustion of modern life drives a certain emotion to be produced in song. The Buoys’ new record aims to bottle these frustrations and release them in a song like ‘Kill You Back’ or ‘Alone in Vegas’ which speaks to modern day social fatigues in a remarkably succinct manner.

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Strawberry Guy is the name used by Welsh-born, Liverpool-based artist Alexander Stephens for his softly delivered, hyper-melodic symphonic pop. He used to be the keyboardist in The Orielles but left to release his debut solo album back in 2021 and has spent the last five years readying his second album, Give Me a Dream.
On paper it may seem a longer than average time to work on an album, but the results help explain the lengthy gestation. His music to date has largely been recorded in this bedroom and in many ways he fitted the image of your archetypal lo-fi-DIY-bedroom artist but Give Me a Dream was recorded at the legendary Sonic Ranch studio in Texas. “Going from my bedroom to probably one of the best studios in the world was…

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Soft-spoken singer/songwriter Fenne Lily wrote and recorded her fourth album over a period of a couple years that followed an unexpected breakup, included struggles with confidence and the loss of a pet, and spanned a relocation from her native England to New York City. While the songs wrestle with these events, they also reflect hard-won qualities like strength, assuredness, and hopefulness. She ultimately titled the album Win Win. Recorded live in the studio with her respective bands in England and New York, the resulting performances are hushed and expansive at once. The set opens with the forward-looking “Uh Huh,” a song that changes points of view as those involved move on from a relationship. While her elegant songs are more rooted in ’70s…

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An adaptive sense of ‘post-punk’ may be the most ‘way’ to file Chicago’s Axis: Sova, the trio of Brett Sova, Jeremy Freeze, and Josh Johannpeter. That’s if post-punk’s understood as an organ, living roots and branches in the wilds of all music. Rock is rich krovvy that froths in Axis: Sova’s veins, and they enjoy progressive tactics when spilling it.
Ever since Blinded by Oblivion (prod. Ty Segall) knocked listeners out back in ‘23, the band have spent their meantime on Chi’s Northwest side looking for fresh shocks and patterns in sound, absorbing, taping and generally writing on the reg. These drafting sessions yielded an exciting new openness, in no small part due to the extensive touring they’d done together all across the U.S.A. and Europe.

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