Category: indie


In 1981 a teenage Martin Kennedy watched Steve Kilbey and The Church play at a strange hippie festival in Australia. They were outliers at this festival and he fell in love with their look and sound. He recorded their set on a walkman, and the songs helped spark the beginning of his music career.
Just a year before, an equally fresh-faced Steve Kilbey formed The Church in Sydney, the very beginning of their public life as accidental hit makers. Forty five years later Martin and Steve find themselves working together on their ninth (add a bunch side projects to this epic side project and they’re about 20 albums in) studio album Things We Did On Earth. It’s always so simple: Steve calls Martin: hey we’re touring…

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Has Axel Wilner changed, or has the world changed? The artist who built an impressive career on making the same album over and over-and making every single one compelling-sounds a little different on his new EP Now You Exist, his first record in eight years. Maybe it’s because it’s on Studio Barnhus instead of his usual home of Kompakt, but it comes off loose and relaxed, unmoored from the clinical techno beats of his most revered work; it sets off on the wide-open path Infinite Moment laid out in 2018 and then veers ruggedly off road. With its over-the-top emotions and genuine hooks, Now You Exist recalls a more unhurried, washed-out version of his debut album, From Here We Go Sublime, sprawled out in the sun and left to bake for a while.

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Since leaving Public Image Ltd, Jah Wobble has been a remarkably prolific artist. He has recently teamed up with Jon Klein, former Siouxsie and The Banshees and Specimen guitarist, for their second collaborative effort. This album is more post-punk than dub. In fact, although Jah Wobble is famous for his dub records, with Automated Paradise, he is returning to his punk roots for a brilliant album.
The title track is the closest thing to dub on the album, and it is a nice short reminder of what Wobble does and does extremely well. But with Klein in the picture, he, for the first time in years, returns to post-punk and punk. He does it with ease, with the perfect vocals and lyrics. Klein provides him the musical support, and it is full steam ahead.

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For fans of electronic music, 1977 represents a sacred frontier. It was a time when synthesizers were massive, unpredictable walls of cables and knobs, and live performances were high-wire acts executed entirely without a safety net.
Among the most legendary documents of this era is Tangerine Dream’s performance at the Place des Arts in Montreal on April 9, 1977, during their iconic first North American tour. Performed by the definitive “Sonic Trinity”- Edgar Froese, Christopher Franke, and Peter Baumann- this breathtaking two-hour set captures the absolute zenith of the Berlin School of electronic music, serving as the final, radiant hurrah of their classic lineup right before Baumann’s departure.
Originally broadcast by Montreal’s CHOM-FM…

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Life is rarely linear, and the record reflects that push and pull between highs and lows. While in Goa in 2023, Jon McClure – the fabled Reverend – experienced what he describes as an “unexpected moment of contentment”- one of the album’s brief emotional peaks, a fleeting sense of stability that soon gives way to grief and upheaval.
The album emerges from a period of profound personal change, following his father’s death after a sudden lung cancer diagnosis. Alongside navigating grief, McClure was also diagnosed with ADHD, which he cites as key to understanding his lifelong emotional extremes.
Musically, that shift is immediate. The record moves towards a more live, roots-driven sound steeped in soul, a clear pivot from…

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The collaborative projects of Austrian experimental double bass player, guitarist, and sound artist Werner Dafeldecker (of Polwechsel) and Australian sound artist, composer, head of the Room40 label Lawrence English, have consistently concerned themselves with processes of transformation. Their new sound work, Fathom Tides, is made of English’s field recordings collected from diverse coastal environments, with some preparations, later treated extensively by Dafeldecker, who added subtle layers of electronics.
Fathom Tides is an LP of incremental change. Best heard as a single, slowly-developing piece, the album reflects the pace of nature over that of humanity. The earth is in no hurry; the trees are not multi-tasking; the streams do have…

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Virga III continues the series established in the early 2020s by two of Eluvium‘s most purely ambient releases. Virga I was created following a temporary evacuation from the artist’s home due to a snowstorm, and Virga II emerged from a dream sequence during the COVID-19 pandemic. In order to escape all the unspeakable horrors of the world, Virga III takes refuge in small ecosystems and other natural spaces. As such, it’s a lighter and more calming effort than Virga II, though it still has its haunting moments.
“The Fires at Night” feels like a safe space far away from danger, with a supremely calming melody drifting in and out. “Remains” is desolate and forlorn, however, and “Hallucination II” revisits the lurching malaise of the opening…

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Schemes progresses from Kreidler‘s run of albums during the 2010s and ’20s which explore spaces informed by dub, funk, and Fourth World fusion. The tracks here are heavily spacious and atmospheric, yet rhythmic and kinetic. There’s pronounced grooves, but they saunter rather than drive. On a few songs, like opener “Beads,” there’s synth patterns or basslines that seem like they could be intros to dance tracks, but the group decide to hover in that space rather than move forward with a beat. Other tracks have drumming which is detached and unhurried, with airy guitar and synth sequences floating above the rhythms. “Bellboy” is a particularly curious track with haunting voices and a general feeling of a mischievous spirit snooping around.

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Eleventh Dream Day created a monster of an album where ferocious guitar rock collided with ramshackle cowpunk, neatly held together by the irresistible vocal harmonies of Rick Rizzo and Janet Beveridge Bean – think John Doe and Exene Cervenka of X. There’s a blistering, untamed energy hovering over Lived to Tell, perfectly exemplified by one of several standouts, “It’s Not My World.
Lived to Tell, the middle record of Eleventh Dream Day’s three album run with Atlantic Records, is back in business! While critically acclaimed at the time of its 1991 release, the band was never satisfied with the mastered sound of the original record. This new issue of Lived to Tell, which will also be coming out on vinyl later this year, is remastered by Carl Saff from the original DAT archives…

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Paradise Metal is a sleight of hand. The music within has very little to do with metal in the conventional sense, and everything to do with the genre’s outer limits-the kind of undulating drone movements practiced by Earth and SUNN O))). The folks at Heat Crimes and their partner label Elhellel will have you know that this music is created by one Father Dionysios Tabakis, an Orthodox priest who serves at the Church of the Panagitsa in Nafplio, Greece. His instruments include the ney, oud, and lyra, among others. The idea is that Paradise Metal is a kind of ancient trance music that addresses age-old maladies: depression, alienation, and isolation.
Opener “Relaxation Music with Tanbur” recalls choice moments from…

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As a follow-up for their Live feat. Annie Golden album Brooklyn’s power pop meets New Wave band The Shirts look back at their first act again with another rambunctious in concert release. Live at Paradise 1979. The show was recorded for a radio broadcast by local station WBCN at Boston’s Paradise Rock Club on August 27, 1979, shortly after their second album Street Light Shine. The tapes were digitized by Wout de Kruif (Dutch Tape Transfers) and demixed/remastered by retired sound engineer Prof Stoned.
It was a weird time for the band. Lead singer Annie Golden had a part in the movie adaptation of Hair and was under pressure to leave the band and become a full-time actress. She turned it down, but in hindsight this period…

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Mia JoyMia Rocha writes music for herself. Releasing songs under the moniker Mia Joy, the Chicago-based artist is the daughter of a poet and a musician, and since a young age, she was encouraged by her father to channel her feelings into music as a way of understanding them.
Taking the advice, she wrote her debut ethereal dream-pop album Spirit Tamer over the course of several emotionally tumultuous years. It captures Rocha’s inner loneliness, cultivates healing, and creates a safe space where she can work through her darkest moments.
“The beginning of writing this album was an incredibly low, dark period and it was also a period where things were just pouring out of me,” she said in a recent episode of Jessica Risker’s…

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Musicians who become parents sometimes feel compelled to write songs about it. But really, what is there to say? Every parenthood experience is unique, and also very much the same, and probably has been for something like three hundred thousand years since humans evolved. All the wonder or magic inherent in the process is deeply personal, and therefore dreary as hell when someone else sings about it. That’s a grinchy perspective, no question, but Shakey Graves — a.k.a. Alejandro Rose-Garcia — does little to change it on his latest, Fondness, etc..
The album is said to reflect the new contours of Rose-Garcia’s life with his wife and young daughter, who was born in 2024. That means these songs are in many ways about…

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I’m Kingfisher is the alter ego of Swedish singer-songwriter Thomas Jonsson. Give Up Together is his sixth album under that guise and comes three years after his last release, Glue, which was far less structured and had a jazzier, looser feel to it.
It opens with the lead single ‘Years of Depression’, which is an emotional entry point and undoubtedly sets the tone for the tracks to come. It certainly has a heavier tone than his earlier work, but it still has that slow, thoughtful application that signifies Jonsson’s work. His writing is both deep and reflective, and in many ways can be seen as almost Leonard Cohen-like in its imagery.
“Here I am. White as f**k and privileged, but also an open wound. I go to the bathhouse to enjoy silence, with naked men with no bodies.

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For Mind Abandon, Ital Tek incorporated more live instrumentation into the creation process, rather than primarily composing on a computer. The tracks are often based on guitars and even processed vocals, as well as live percussion and other instruments played by hand. The album still unmistakably sounds electronic, but it has a human touch. Ten years on from 2016’s Hollowed, Ital Tek has firmly established a cinematic style that has almost nothing to do with the dubstep, IDM, and juke hybrids he used to produce, even if his newer work is still informed by the more beat-forward direction of his earlier releases.
Opener “The Ice Is Thin” is a sparkling inferno with melancholy bass, and “A Hidden Path” almost sounds like a dark version of new…

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Indie singer/songwriter Spencer Krug released his latest solo album, Same Fangs. Though best known for his string of formative records with Wolf Parade, Krug has also stayed busy with other projects, releasing a prolific run of albums with Sunset Rubdown and Moonface, in addition to his solo albums. Fans last heard from Krug with his latest Sunset Rubdown album, 2024’s Always Happy to Explode, which followed soon after his last solo album, I Just Drew This Knife, in 2023.
Krug returned earlier this year amidst an unexpected cultural resurgence of his Wolf Parade track, “I’ll Believe in Anything,” thanks to a triumphant needle drop moment in Heated Rivalry. However, rather than leaning into chaotic indie rock highs, the songs on Same Fangs…

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Critically acclaimed singer-songwriter and instrumentalist, Patrick Grossi, widely known as Active Child, released his new self-titled album, on Sony Music Masterworks. Co-produced with Alex Goose (Kali Uchis, Childish Gambino, Vince Staples), the album is Active Child’s most personal and introspective work yet, marked by a candid exploration of adulthood and fatherhood. A reflective portrait of his own journey, Grossi navigates the space between creative devotion and familial responsibility, exploring how love and quiet self-protection shape a life no longer driven by youthful idealism.
“Pursuing art feels less romantic and more chaotic as I age,” Active Child notes. “It demands a selfish, often solitary lifestyle…

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An indie rock group with a lo-fi, slowcore sensibility, Hiding Places formed in Chapel Hill, North Carolina, with several members of the original lineup serving as DJs at UNC’s student radio station. They then scattered across various states, occasionally meeting up in places like Athens, Georgia, and releasing a handful of EPs while shifting members of their rhythm section. Produced by new bassist Michael Matsakis, The Secret to Good Living marks the band’s full-length debut, Keeled Scales label debut, and their first release to be recorded together after they all relocated to New York.
A certain Southern aesthetic inhabits the album, however, at least after it opens with the dark, metal-tinged rocker “Dead Dove…

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