Yes, the new Chanel Beads record is called Your Day Will Come (2026), which is the exact same title as the project’s previous LP, Your Day Will Come (2024). As a press release notes, the repetition is about challenging record industry norms, but it’s also a way of evoking “the duel between certainty and doubt” that mastermind Shane Lavers wrestled with during the record’s creation.
Or, to put that last part more plainly, the difference is a matter of intonation: “I’m Ron Burgundy?” versus “I’m Ron Burgundy.” So, which punctuation is Your Day Will Come (2026)?
Like its predecessor, the new album was recorded in Lavers’ small Brooklyn studio with the help of his frequent group of collaborators including singer Maya McGrory, violinist Zachary Paul…
Category: indie
…’Complete B-Sides: 1988-97′ has been remastered from the original analogue tapes and includes an additional six live tracks. The first two – ‘Planet of Sound’ and ‘Tame’ were originally released on the 1991 ‘Alec Empire’ single and were recorded at the band’s 26 July 1991 Brixton Academy gig. The remaining four bonus live tracks – ‘Debaser’, ‘The Holiday Song’. ‘Cactus’ and ‘Nimrod’s Son’ – were first released on the 1989 promo Pixies Live and were recorded on 10 August 1989 at Cabaret Metro, Chicago.
…Originally released on CD in 2001, while the band were almost a decade into a hiatus, Complete B-Sides contained 19 B-sides from the band’s classic 4AD era (1988-1991) and featured beloved Pixies tracks including “Wave of…
The iconic backdrop of California – from the Hollywood hills to its gnarly mountain trails – has always been a particularly evocative source of inspiration when it comes to art, so it’s not all too surprising to learn that Joe Newman, frontman of alt-J, felt so drawn to its confines for his first solo foray. His first venture proper outside of the band since their formation almost 20 years ago now – under the moniker of his former screenname JJerome87 – The Canyon is a bold offering that comes dripping with a sultry California spirit. Opener ‘Mr Alligator’ swaggers to life in a bluesy manner, before ‘Green Velvet’ hazily saunters in, bathed in the kind of enveloping warmth that only Los Angeles could help conjure up. An assembled cast of session musicians and…
If a title’s purpose is to illuminate an album’s themes, then The Ground Above, Beth Orton’s ninth, suggests she’s been buried alive. Listening, too, for the first time, one fears that’s exactly what’s happened. Once that gentle, languid voice ached with a mere crack on “She Cries Your Name”, and that crack, furthermore, let light in. Three decades later, it trembles and breaks on her new record’s earliest notes. Indeed, this title track initially appears so privately visceral one worries about intruding. Her moans and groans are singular, guttural, even primal, as though they’ve discovered a life of their own.
Arguably, however, Orton has rarely sounded more like herself; and deciphering these lines confirms she’s making peace with her demons,…
After their fluke hit “Pepper”, off 1996’s Electric Larryland, Butthole Surfers label, Capitol Records, wanted a follow-up. The band submitted After the Astronaut, but at the eleventh hour (with promotional copies already out), the label killed the album. Then, in 2001, on a new label, a revamped version titled Weird Revolution appeared. It went nowhere, and that was pretty much the end of the Butthole Surfers. Now the original record, shelved years ago, arrives.
While fans have had lo-fi copies for decades, this new release clearly displays what the Surfers were going for in 1998. Gone are the cataclysmic punk freakouts of their early years, and in their place are remedial drum loops and pedestrian synth-laden ambient space outs.
Nowhere Sessions was recorded in a secluded family cabin deep in the heart of Iceland, far from the bustle and roar. According to Snorri Hallgrímsson, the old cabin is “not only a retreat but a place of memory and continuity.”
The album is as much about meaningful solitude as it is about solidarity, although the two are often complementary.
The lead single “I Am Weary, Don’t Let Me Rest” is indicative of the album’s intimacy. The video begins with an image of the composer’s hand poised above the piano before the camera expands to reveal a home filled with musicians, exuding an incredible warmth. The strings ease in like clouds covering the horizon. Soon there is a second pair of hands at the ivories, a statement of…
Were the Watchtowers is the final recorded work of the Sadies singer-guitarist Dallas Good, completed before his unexpected passing in February 2022. It’s jointly credited to Good and Richard Reed Parry (of Arcade Fire).
…The 9-song album features guest appearances from Margaret Atwood and Neko Case, while other contributors include Kurt Vile, Yo La Tengo, Jim Jarmusch, John Doe, Jon Spencer, Scott McCaughey and Gary Louris. Closing cut “Not in the World” features the aforementioned fan choir, with more than 500 contributors.
…Parry explained that Were the Watchtowers was written and recorded over the course of a decade, and further explores the “cosmic, psychedelic Americana sounds” heard when Parry…
Whether some genres or sub-genres are supposed to go together or not is often a moot point, and in more cases or not, depends on whether a band or an artist have the ability and inventiveness to be able to make a musical combination that actually works.
Taking that route on their debut album, The Devil You Know, is New York quintet St. Divine. As you sift through the eleven tracks here, you can encounter quite a few things this band likes, garage rock, punk art rock, Americana, and they sneak quite a few things they sneak in, sometimes in a single song.
Such an approach is always a sort of a double-edged sword – it can turn into a chaotic mess, or it could be inspired and inventive…
This Is My Blood finds Jozef van Wissem deepening his long project of dragging the lute out of its historical frame and into the present, this time with a gaze fixed on deserted, contemporary landscapes. The album is literally framed by two “cinematic hypnotist slide lute” pieces, improvised for Maquina, a psychedelic road‑movie shot in the Colorado desert by filmmaker Joaquim Pujol.
Rather than moving through tidy song forms, these bookending tracks feel like mirages: scorched, hallucinatory reveries that “seem to shimmer in the heat of abandoned horizons rather than unfold in time,” as the press material puts it. Long, bent notes, slowly evolving figures and smeared overtones turn the slide‑treated lute into a kind of broken lap‑steel choir; the music…
Most labels find their artists in the most banal ways — at showcase festivals, on TikTok, through friends, etc. Juergen Vonbank travelled halfway around the world to discover an artist who lived on yet another side of the world: During a tour stop in Ecuador, the DJ and Night Defined owner was introduced to the music of Mongolian artist Ts Bayandalai, and immediately fell in love. It took a while to overcome geographic borders and language barriers, but now Wind of Oirat underscores that all the effort was worth it: Following up on 2020’s Kimel EP, the artist’s first album is a fully-formed statement of intent.
Bayandalai takes some cues from Mongolian folklore, but as track titles such as ‘404 Not Found’ and ‘Bedwetting’ prove, he doesn’t…
Dewa Alit, master of radical Balinese gamelan, returns to Black Truffle with Baur Bentur. Genetic (2020) introduced international listeners to the magical sound-world of Alit’s Gamelan Salukat, who perform on instruments tuned to a unique scale derived from modified versions of two traditional Balinese scales. The two pieces heard on Chasing the Phantom (2022) further demonstrated his radical fusion of tradition and experimentation, with passages where unorthodox techniques make the acoustic ensemble resemble glitching electronics. Baur Bentur now highlights another aspect of Alit’s work, presenting pieces composed in 2024 and 2025 where Gamelan Salukat performs alongside virtuoso pianist Sri Hanuraga. Alit’s music is grounded in deep…
Much is made in current dance culture about electronic music as an outlet for queer joy. Earlier this year, for example, when Charli XCX declared that “the dancefloor is dead” in her latest news-cycle-consuming PR stunt, it provoked worldwide outcry from DJs and producers who argued that denying dance music’s modern ubiquity robs Black and queer communities of the ecstatic temples that they built, across decades, as an antidote to adversity. And while that retort isn’t inaccurate, it can be a little unintentionally reductivist. What about queer pain, queer sorrow, queer fear, queer anxiety? These emotions are just as central to the Black queer experience as joy, and some of the most interesting electronic music — Lotic’s eerie experimental R&B noise,…
Sister Gemini is one Remy Jean, supported on her debut album Screaming Crying Laughing Sighing by a quite select collaborative crew, with musicians and producers that have worked with the list of likes that reads as a sort of ‘who’s who’ list of currently hip artists, from Father John Misty to Phoebe Bridgers, to Blake Mills, among others. So why would such a hip list enlist their services for a relatively new artist’s debut? Well, Remy Jean has got that, as French would say je ne sais quoi that covers an intriguing ground as if Camera Obscure was covering Liz Phair and Throwing Muses at the same time.
It all comes down that Remy Jean is coming out with her debut album with a fully formed, personal sound that was shaped by her…
There’s something delightfully uncomplicated about the music of Unwed Sailor.
Founding member and bassist Johnathon Ford (Pedro the Lion, Roadside Monument) infuses the instrumental tracks with his distinct, melodic bass lines while drummer Matt Putman and guitarist David Swatzell fill in the blanks with a sound that embraces the basic framework of so many different styles: new wave, post-rock, krautrock, you name it. Floating above it all is a sense of nostalgia that’s bittersweet and somehow never condescending or derivative.
Their latest album, High Remembrance, follows last year’s Cruel Entertainment and continues a prolific streak that began in 2019 after a decade-long hiatus. This album, their 11th,…
…Like Hoboken’s finest, Styrofoam Winos are content to operate within the underground. Rather than striving to break through to a mass audience, they’ve spent the 2020s pursuing their muse and cultivating a network of likeminded music geeks in their home base of Nashville and across the country. They’re in the music business, but also the business of community. It’s what they’ve been up to in the years since they graduated from Belmont University and began jamming after shifts together at the now-defunct J&J’s Market And Cafe.
…They’ve all logged time in the Roadhouse Band with Ryan Davis, one of the breakout stars of the indie world in recent years, who released the Winos’ self-titled debut on his stellar Sophomore Lounge label in 2021. Another big fan…
When Belgian singer-songwriter/multidisciplinary artist Camille Willemart, alias Camille Camille, sings over a fingerpicked acoustic guitar, you feel as if memories are holding onto you or you’re holding onto them. Inescapable either way. She’s an arresting folk artist — more than that, though, her songs are fey lullabies as if plucked from some forgotten century or land. Although seemingly innocuous and otherworldly, the tracks are weighed down by longing. Yearning pulls them from beneath like an anchor.
Yes, the encircling guitar strumming sounds as if Camille is retracing her thoughts or circling back around to a subject, an idea, a referent that lingers like a half-remembered dream. Indeed, it is a soporific-induced world in which…
There is an impressively austere quality to Alison Cotton’s music. Set within the self-imposed parameters of only using instrumentation that she owns, that policy initially saw her limited to viola, voice and Omnichord drone on her debut. In contrast, The Gods Laugh has an expanded palette that also includes harmonium, piano, hammer dulcimer, treble recorder, bowed cymbal and percussion while partner / producer Mark Nicholas contributes bass, drums and synths. Both in its sound and inspiration, her catalogue has a seriousness of intent. This was exemplified by her 2024 album, Engelchen, which translates as ‘little angels’ and was inspired by the lives of Ida and Louise Cook who used their travels through Nazi-occupied Europe to see their…
The spirit of Liz Phair, Fiona Apple and the late great Jill Sobule emanates from this fantastic first record, and these 11 songs show Emma Gerson (aka lucky break) is a name to look out for. The album was mixed and mastered by Grammy-nominated Jessica Thompson and was recorded with Gerson and her friend and co-producer Elliott Woodbridge in a studio in Burbank. They did all the instrumentation together; Gerson was on acoustic guitar, Woodbridge did everything else. And what a confident and truly enjoyable listen it is.
It opens with ‘Big Swing’, a dreamy, guitar-drenched ode to the challenges of reaching adulthood. This new feeling is a difficult one, and she’s voicing her feelings of being all at sea. An opener that captures the imagination…