…these songs resonate as loudly as when they were first created” – MOJO
When they were young, members of Cabaret Voltaire used to walk up to strangers at bus stops in Sheffield and spray them with sounds from reel-to-reel tape recorders. They wanted to liven up everyday life in a Northern industrial town, and observe what would happened when people were jolted out of familiar habits. This pranksterism sticks in the memory, not just because it speaks to the DIY graft that’s part of Cabs’ origin story, but because spending hours splicing sounds onto tape and then blasting them out for a few seconds touches upon a question lurking over the live performance of electronic music as whole: if all the work takes place in the studio…
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Arcade Fire’s 
After releasing two albums of eclectic and textured lo-fi indie rock under the solo project handle youbet, Nick Llobet found a musical kindred spirit in fellow Brooklynite Micah Prussack (Trace Mountains) and invited her into the lineup.
Although the band have experienced a complete turnover in backing personnel since their 2018 debut, San Franciso’s 
…includes the original 13 tracks plus four brand-new songs and three remixes.
They Came Like Swallows – Seven Requiems for the Children of Gaza is the first significant collaboration from two luminaries of alternative music; 
For her fourth album, Maya Hawke regathered key members of her steady writing/recording crew – Christian Lee Hudson, Benjamin Lazer Davis, Will Graefe – who continue to take chances and gradually broaden her sound instead of opting for the warm comfort of a default sweetly melodic, charmingly confessional songwriter sensibility (although there’s some of that here, too). Joining them in the studio was another prior collaborator, producer/engineer Jonathan Low (Taylor Swift, Gracie Abrams, Caroline Shaw). Hawke’s most ambitious album to date, the 13-song 
The legendary Slovenian group’s first original studio album since 2014’s Spectre, 
Since breaking out with their fantastic eponymous debut album, which featured the smash hits “Cough Syrup” and “My Body,” Young The Giant has proved time and time again that they are one of the premier indie rock bands working today. Their sixth full-length album and Fearless Records debut, 
British electronic collective 
It’s probably no accident that 
White Flowers, the long-running collaboration between Joey Cobb and Katie Drew, exists within what they call “the realm” – a shared creative space, wherein time, rather than being a restrictive force, is fluid and boundless, and music exists as an endless conversation with their past and present selves. Adopting what the band describe as a “sketchbook” approach to writing, White Flowers is the product of a decade’s worth of recordings – snippets nestled away on hard drives, only to truly make sense years later.
…Since reuniting in 2014 after a decade-plus dormancy, 
Fans of the Black Keys in their earliest incarnation shook their heads in wonder as the flailing, wild-eyed garage-blues duo they’d come to adore became one of the biggest bands of the 2010s. 2011’s El Camino and 2012’s 
California sounds revival? Not called as such yet, but that line leading from The Beach Boys and Buffalo Springfield through the ‘70s scene seems to be being revived and modernized by the likes of The Lemon Twigs and a number of other artists. Judging by Entropy, its new album, San Diego trio Foxtide should definitely be included in any such revival list. You can add to that revived term modernized one, as Elijah Gibbins-Croft, Oey James, and Ian Robles, who comprise Foxtide have that modern touch to songwriting and production, as they filtered their digest of all sounds California through current concepts of pop/rock music. The key lies in an excellent songwriting that relies on that well-proven concept ‘let’s write and sing something that sounds like…