A simplified take on Austin band Touch Girl Apple Blossom and their debut album Graceful is that they’re twee pop revivalists, unambiguously re-creating the softhearted melodies and yearning tones of the ‘90s rosters of K or Sarah Records as closely as possible in the late 2020s. There’s some credence to this assessment (the anything-but-high-definition analog tape production, the hand-stamped fanzine aesthetic of the album art, the band’s name being borrowed from a Beat Happening lyric), but it’s not the entire story. Opening track “The Springtime Reminds Me Of…” is a flurry of jangly guitars of all sorts, kicked off by the kind of sweetly sad and unfussy riff that might have shown up in a Tiger Trap song. Listening closer, there are more layers of…
Category: indie
Green World Image is the second album and Sub Pop debut of spirited post-punk revivalists Telehealth, a group that build on both the sound and subversion of acts like Devo and the B-52s while updating subject matter for the 2020s. Launched from the Seattle music scene by married couple Alexander Attitude and Kendra Cox, Telehealth are fleshed out by members of Slowdive, Tomten, and other indie projects. Attitude and Cox particularly evoke the B-52s at times thanks to the couple’s dual and rotating lead vocals and accented enunciation. The album begins, however, with the soothing voiceover track “[user onboarding sequence],” which asks, “What if there was a model for living that connects people, finances, nature, and technology into one seamless…
As humans, we have an inherent desire to connect with those around us. These relationships shape our social interactions and influence us in ways we may not realize, each moment subconsciously ingrained in our decision-making. The people we decide to keep in our lives come with the weight of influence, but unfortunately, these wildly important relationships never hold the staying power they promise. We are all made up of the mistakes, triumphs, and losses that come with building a connection with someone, and how these lessons linger in future relationships. When someone decides to exit your life entirely, their presence takes on a ghostly aesthetic, leaving a void they once filled, and a rush to fill it ensues.
That moment of panic after your support…
“I know that the world will come apart / I hope that the pain is gonna stop,” sings Rostam on the penultimate track from American Stories, his third solo album and first record in five years. It’s an appropriate sentiment given the current global political climate, but the wording is also vague and conflicting. Is it pessimistic? Is it hopeful? Perhaps it’s pretty much all of our duelling emotions while we’re trapped doomscrolling.
In fact, the very concept behind American Stories could hardly be more timely. The former Vampire Weekend member (full name Rostam Batmanglij) was born in Washington DC with family roots in Tehran, and after mining classical influences for previous albums, has now set his sights on the most American of genres:…
It’s no knock on SUSS’s excellent music to admire the strategy behind their success. Their first savvy move was to embrace the kind of pat labeling that many artists try to avoid. Self-branding as “ambient country,” they made the tradition of diffusing American roots music through a new-age filter sound sexy and modern and algorithmic. They played to the playlists and got results, and were branded as pioneers in the process.
SUSS expanded their brand under the rubric Across the Horizon, which consists of a podcast; a compilation series featuring fellow travelers like Mark Nelson of Pan American, William Tyler, Marisa Anderson, and Chuck Johnson; and now a revolving all-star jam at the Big Ears Festival, a booking that’d be a feather in any upscale…
Though still young enough to have as much future stretching ahead as past behind him, Kevin Morby has already clocked up nine albums that track his migrations – first from his native state of Texas to Kansas, then to NYC, LA and back to Kansas (City) – while fine-tuning his countrified folk-rock. Both Harlem River and City Music stand as odes to New York, while Sundowner documented his Midwest homecoming, and 2022’s This Is a Photograph was inspired by Memphis and largely written during a stay there in its historic Peabody hotel. On Morby’s 10th, specific places (and events connected to them) are again the stuff of his songs but now he’s taking stock of his 20 years on the road and mapping out much more of his interior terrain as a result. Despite the title,…
Luis Garbán Valdeón is no stranger to parties: for years, he has commanded the international warehouse circuit, playing industrial, techno-forward sets under the moniker Cardopusher. Now, as Safety Trance, he offers his experimental take on mutated reggaeton through Venezuelan influences like raptor house, alongside dembow, ’90s Memphis rap, and witch house. The mix of genres and collaborators on his new album, sacrificio, feels distinct to someone who’s been integral to the neo-perreo movement for years. It’s the most readily accessible music of his career, as well as a glitchy, uncanny record that aims to crack through reggaeton’s status quo to reclaim space for counterculture and community.
Though operating at the center of…
The combination of tabla (tuned Indian hand drums), santur (Iranian dulcimer) and harp does not pop up often, but hearing them together on the new trio album from Montreal’s Shawn Mativetsky, Amir Amiri and Sara Pagé, you’ll wonder why it’s not more common. Though hailing from different countries and traditions, the santur and the harp have intriguing tonal similarities, the former bringing out the latter’s metallic tactility, and the latter bringing out the former’s gossamer ripple. The hopping, polyrhythmic bounce and ricochet of Mativetsky’s drumming emphasizes the percussive nature of both instruments, adding to the music’s harmonic breadth, while the resonance of the strings bring out the more melodic aspects of the tabla. Metamorphose, as its title…
There is a sharp, choppy wind blowing through the atomised urban decay on Conscious Pilot’s debut album, Human Poultry. The Glasgow-via-Yorkshire outfit are an act reflective of said atomisation, with the band a formation of members of Cheap Teeth, Catholic Action and Big Girl’s Blouse. This, however, doesn’t mean that their collective effort is to be dismissed. This debut is a hip-twisting, twangy relic amongst contemporary post-punk-inspired indie rock. The record sees the marriage of classic post-punk rhythms akin to fellow Glaswegians Orange Juice and Teenage Fanclub, and the modern, sleazy tones of contemporary post punk. Lyrics from Joe Laycock and bassist Jack Sharp reflect a humdrum malaise that has blanketed modern life, particularly on the tracks…
Swedish producer Olof Dreijer is best known for projects with his sibling Karin: namely their duo the Knife, plus Karin’s solo act Fever Ray, with whom he created four brilliant tracks on 2023 album Radical Romantics.
For all that his beats on these records often had African-Caribbean-Latin syncopation, they also had a Scandinavian winter gloom.
Conversely, his debut solo album seems to crane upwards towards sunlight like flowers – and each of the tracks has a floral name. Dance heads will already be familiar with some of them (having appeared on EPs stretching back to 2023) but together they show quite how distinctive Dreijer’s own musical accent is: you can tell it’s him sometimes from just half a second of music.
Towards an Expanse moves through its soundscape of Xhosa traditions and digital adventuring with the same attention to detail throughout. “Layer After Layer,” the opening salvo from Dumama’s prismatic debut album, mirrors its namesake in its expertly layered mille-feuille of hand drums, organ drone, and synth flashes — a considered, holistic process that endures across the electro-acoustic album’s 11 intricate songs.
On the first track, this creates a rich backdrop against which Dumama’s Morcheeba-esque downtempo serenade can drape itself. From then on, Towards an Expanse unfolds as a loving union between music and storytelling, mixing English lyrics with whispers and Xhosa chants.
Indeed, instruments are everywhere on…
In Perdido Street Station, China Miéville describes “crisis energy”, the moment when a system pushed to its absolute limit transforms, where collapse and maximum release become the same event. Guttersnipe adopt this idea as their guiding principle. On Extinction Burst!, their first record in eight years, they turn crisis energy from concept into visceral reality.
The Leeds duo (Uroceras Gigas and Tipula Confusa) see the supposed split between the cerebral and the visceral as a cultural fabrication. They reject the idea that intellect and bodily experience must be separate, a myth sustained by a society that wants its thinkers detached and its bodies unthinking. As Confusa notes, most lifeforms – bacteria, invertebrates, marine animals…
Is Trixies for real? The titular ’60s London night club – filled with cutthroats, dancers, toffs, actors, musicians – is evidently a creation of Squeeze lyricist Chris Difford’s febrile imagination. But does, as the promo insists, this song cycle/musical really date from 1974, three years before Squeeze even had a record deal and Difford and Glenn Tilbrook were all but teenagers? The idea seems quite incredible, but yes, a little sleuthing reveals it to be true: there’s a fleeting reference to it in D&T’s 2004 book, Song By Song, and it’s mentioned again in Difford’s 2017 memoir, Some Fantastic Place. Trixies, shelved for the foreseeable after punk loomed onto the horizon, might otherwise have been their first album. And how different Squeeze history may have been if it was…
Once mainly something that existed in a live setting, the group drifts further into its own orbit with a second collection of songs. What began as a collaboration between two voices now expands with the presence of a third, adding new layers that sometimes verge on something almost familiar.
The work continues to explore a method that feels less like collecting from the outside and more like rearranging from within. Fragments are taken apart and reassembled: rhythms, echoes, remnants of recognizable forms. This time, there is a stronger sense of movement, though it never quite settles. The vocals wander through it all, as if searching without urgency to arrive. At unexpected moments, other sounds surface briefly, then disappear again. The whole seems to find…
It’s swift, at just 24 minutes across nine songs, but The Afterparty is Lykke Li at her very, very best, which makes her recent claim at an LA listening party that it could be her last, devastating. It might only be May, but it’s already a serious contender for album of the year. For those of you who had a Brat Summer, The Afterparty comes next.
Lykke Li has thrown the kitchen sink at this album. It includes a 17-piece string section, what she calls “apocalyptic bongos” and more flute than old prog-rock outfit Jethro Tull. The first three songs are a sucker punch of hedonistic glee; opener ‘Not Gon Cry’ grabs your toes and sets out what’s ahead – a heady mix of electro, soul and disco, it’s an instant rush with heart-exploding rhythms, an addictive cowbell and a flute that helps you…
‘Blue’, one of the singles from Deb Never’s debut album, tells a story of unexpected meetings and chance-encounter love. “It’s the way you creep into my life,” she sings in its hook. “Like your favourite out of the blue.” It’s an apt description of Deb’s own aesthetic: songs that arrive unannounced and unfurl gradually and patiently.
Arcade has been a long time coming. Following a breakthrough appearance on Brockhampton’s ‘Ginger’ in 2019, the Seattle-raised, LA-based musician spent years working through a series of EPs before arriving at her debut proper. Now, ex-Brockhampton member Romil Hemnani returns to executive produce and feature, while Dominic Fike (who supposedly passed through the studio at various times during its recording)…
The Asteroid No.4 return in 2026 with In Praise of Shadows, their thirteenth full length album and a statement release that reaffirms the band’s enduring place within the modern psychedelic underground.
In Praise of Shadows captures The Asteroid No.4 at their most focused and assured, leaning fully into the shoegaze sound for which they are best known. Swathed in multi layered guitars, dense reverb, and hypnotic melodic drift, the record reflects decades of refinement while retaining the immediacy and emotional pull that has defined the band since their earliest releases.
Formed in Philadelphia in the late 1990s and now based in the San Francisco Bay Area, The Asteroid No.4 have built a reputation…
Over the last 50 years Scotland has often been the centre of some of the most exciting things to happen to guitar music. Author Grant McPhee has put together this comprehensive 3 CD set which documents 1985 to 1999 when Scottish independent music was thriving. It’s released by the ever reliable Cherry Red and covers a range of scenes and styles. Following on from the beginning of the decade with the mighty Postcard Records label led the way with iconic Scottish guitar bands like Orange Juice, Josef K and Aztec Camera. The baton was passed on to many of the groups featured here.
Beginning with Jesus & Mary Chain’s, ‘You Trip Me Up’ we’re thrown right into 1985. Originally signed to Creation Records…