Category: indie


Although Brown Horse are soaked up to their collective armpits in various signifiers of a very recognisably American musical lexicon (pedal steels and the lure of the road leading out of town feature prominently here), the Norwich quartet (accompanied by drummer Ben Rodwell and backing singer Neve Cariad) achieve an identifiably British take on various alt. country/Americana staples on the startlingly assured, often viscerally raw Total Dive.
With all four members sharing the songwriting duties equally, the ten songs on Total Dive venture from grizzled, petrol-fumed bar room boogie (the title track, with the track’s energised gallop deliciously at odds with the downbeat dead-end vibes of the lyrics) to desolate…

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On the first two Fantastic Cat records, the quartet of singer-songwriters (Anthony D’Amato, Brian Dunne, Don DiLego, and Mike Montali) brought their own styles successfully into a band setting. However, on their third album, the cheekily titled Cat Out of Hell, Fantastic Cat feels like a long-running, well-oiled, veteran outfit.
Things are more fluid as individual contributions have melded, crafting an overall, interlocking sound. The extremely well-produced album adds sonic touches like strings, harpsichord, and tambourines to spruce up the group’s solid base of indie/folk rock tunes, all delivered with pristine harmonies and evocative lyrics.
Opening exuberantly with “Donnie Takes the Bus”, Fantastic Cat drops into a cheery,…

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Born in Tehran in 1983 as son of the world renowned tar and setar virtuoso Hossein Alizadeh, Saba Alizadeh established himself not only as a true master on the Iranian spike fiddle kamancheh but one of the groundbreaking voices in contemporary Iranian music.
After the critically acclaimed releases Scattered Memories (his international debut, released on Karlrecords in 2019), I May Never See You Again (2021) and last year’s Temple of Hope, his new album Rituals of the Last Dawn unfolds as a deeply meditative dialogue between tradition, experimentation, and the present moment. The Iranian composer and kamancheh virtuoso — widely recognised for bridging classical Persian heritage with avant-garde sound — crafts…

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If you’ve recently listened to Okkyung Lee’s just like any other day, take a minute to collect yourself and reset expectations before diving into the South Korean cellist’s new record. While Lee’s 2025 collection of charming and bright-eyed, keyboard-focused ambient miniatures wouldn’t feel out of place in pastoral passages of a JRPG soundtrack, Signals, a commission by London’s Explore Ensemble, is stark, grave, and sharply abstract from first note to last.
The first sounds we hear, in fact, on the opener ‘Siwan’ (named for pianist Siwan Rhys) are the echoes of a resounding yet dangerously unstable piano stab. The sonic shape feels at once awfully close and impossibly distant, as if we were peering into the instrument’s guts…

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Long before Caterina Barbieri’s Eurorack met Bendik Giske’s tenor saxophone, the two artists were already on the same wavelength. The Italian modular savant and the Norwegian reed player have both situated their sounds to the left of center, thriving at the edges of their respective instruments and conservatory educations. Giske uses his classical training to translate his experiences on Berlin’s queer techno circuit into gymnastic transmutations of breath. Barbieri, recently named artistic director of Venice Biennale’s music department, once got booted from a church venue because a priest found her music “satanic.” Their first joint EP, At Source, gathers four hypnotic improvisations that move like drill bits, spiraling towards a creative core that’s…

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A flicker of light was the namesake of Lia Pappas-Kemps‘s first EP, 2024’s Gleam, but the Toronto singer-songwriter’s full-length debut Winged proves that she’s more than just a flash in the pan. The idea of depicting a new indie rock-adjacent local artist often conjures one blurry-edged, vague cipher with a pretty generic sound profile. While Pappas-Kemps is adamantly a deviation from the norm, depending on where you start with her already-chameleonic œuvre, that may or may not be immediately apparent.
The second half of Winged opens a portal that makes it undeniable. On a twisted, knotty tree trunk of a song called “Wound Up and Coiling,” Pappas-Kemps kicks the project’s mouth agape as the titular tension becomes too much…

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Martín Schellekens and Martín Espinosa have never been shy about their fondness for Sonic Youth. They started out calling themselves Hey Joni, after all. But that alias didn’t last; eventually they hit on Land Whales, a name with no associations attached. Subtly surrealistic, “Land Whales” conveys a blurry constellation of ideas: brute force and sheer impossibility; weightless grace and its gravity-bound opposite.
All those potential connotations take on greater significance when you consider that the group came together in Cuba and recorded its music — a fusion of grunge, post-hardcore, and shoegaze — in a Havana apartment, against all odds.
Land Whales’ sound is uncannily familiar. Their second album, How to Make a Breakfast,…

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Remember when Matmos’ Drew Daniel posted about “hit em,” an imaginary electronic genre at 212 bpm and in 5/4 time? Seoul-based producer Guinneissik was one of many across the world who submitted an interpretation: “London Hammer,” a noisy techno belter with screamo vocals, later included on the resulting Machinedrum-curated compilation. But 2024 was already shaping up to be Guinneissik’s breakout year, with his slow-building trance single “Farewell Two Shell” nominated for Best Electronic Song at the Korean Music Awards. Daniel’s infamous tweet might have sparked Guinneissik’s entry into an international story, but the kindling had been accumulating for years.
Learning the ropes of Ableton from Korean electro-house pioneer KIRARA, Guinneissik…

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Montreal-based Chadian producer, singer and guitarist Caleb Rimtobaye, aka Afrotronix, fuses ancestral African tradition with future-facing electronics. KÖD expands his exploration of the sounds of his homeland – weaving tama and other hand percussion, sampled Chadian call-and-response singing, and more, into his ear-grabbing electronic compositions. The album balances the familiar, from desert blues guitar licks to Sahelian polyrhythms, with outlandish and experimental programmed elements.
Opener ‘Incertitude’ kicks things off in fine fashion with treated vocal samples, hand percussion and squelchy synth refrains. The addition of a clutch of guest vocalists mixes things up and adds even more colour to proceedings.

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The number of recordings that combine electronics with acoustic instruments and sounds picked up in the field (whatever that field might be) is proliferating by the day. Yet, as it could be expected, it is always a hit and miss affair, often depending on the ability of the artists involved to make a musical combination that actually works in a manner that all those sounds involved create the result all involved are set to create and something that listeners can actually relate to.
The combination of Ben Seretan & John Thayer goes for such a concept on the duo’s joint offering Sunbeam of No Illusion in an attempt to reverse the concept described as “machine in the garden,” something attributed to American Transcendentalists, a 19th-century…

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BODY SOUND brings frequent collaborators Whitney Johnson, Lia Kohl, and Macie Stewart together in a string trio format. The album’s pieces are all based in improvisation, and they’re all shaped by the spaces they were recorded in, which included two Chicago recording studios and the Big Ears Festival in Knoxville. Engineer and co-producer Dave Vettraino helped out by manipulating tapes and sonically translating the unique qualities of the recording locations.
All of the pieces’ titles were drawn from Yoko Ono’s book of text scores, Grapefruit, and all consist of everyday items and actions. The compositions are intimate and delicate, yet they find ways to escape their confines, as if the musicians and their instruments are entranced and…

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Jim Jones is, of course, the scraggly British rock’n’roll Jesus who out-Stooged Iggy in the 80s with delirium rockers Thee Hypnotics, and has chased that fuzzy psych-punk high ever since under various names, line-ups and conjurations.
Black Crowe Chris Robinson produced this album, and also provided some vocals, as did ‘Mrs’ Marc Bolan Gloria Jones. Green On Red mainman Chuck Prophet also wanders in for some guitar musings. Does this qualify the ‘All Stars’ nomenclature? Yes. Who were you expecting? Slash? C’mon, man, everybody cool is dead these days.
Much like fellow junk-punk-funker Jon Spencer, JJ’s sound these days is stripped-down and laid bare, free of the youthful 17-minutes-long-with-four-guitar-solos excesses his previous…

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The basic elements of This House’s sound will be familiar to anyone who followed G.W. Sok’s career before. A furious clangor of box-y drums, barbed wire guitar play and hoarse, poetic shouted lyrics all point towards the Ex, the long-running art-punk band that Sok left in 2008. His partner, Ignacio Córdoba, adds electronics here, in line with his own work, but the music mostly lurches and spasms with fierce, rhythmic punk intelligence. A couple of shadowy interludes — acoustic “Introduction to Poetry” and the ominous title track — hint at a less frenetic iteration of This House, but mostly these cut rattle with whip-sharp, multi-layered rhythms. Every element, not just drums, builds a beat architecture, jittery, not-quite comfortable setting for the songs.

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…On their earliest recordings, Poison Ruïn were a compelling curiosity: an anonymous, no-fi anarcho-punk project, kitted out in chainmail and singing about the plight of the medieval peasantry. Their focus has grown both wider and sharper over the past half-decade, as founding member Mac Kennedy has fleshed out a full lineup and spoken more openly about the band’s intent. He’s learned to walk the fine line between what he’s called “sword for sword’s sake” aestheticism and the use of medieval imagery to make pointed societal critiques. Their second album, Hymns from the Hills, is Kennedy’s view from beyond the proverbial castle walls, and he writes eloquently from that perspective. He expresses solidarity with those “dropped off and discarded…

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Despite the fact that it includes the track “Winter, Don’t Let Go,” For Those Who Stay is very much an album of spring. More specifically, it’s about the emergence into spring after a long winter, which has been chronicled month by month, track by track by Hollie Kenniff.
The first two singles appeared in December, the second two in January (including the winter track), followed by one in February, one in early March, and finally the full eleven track album the first week of spring.
We have been anxiously awaiting this set (ironically, one track is titled, “The World Can Wait”), whose tracks are now presented in a different order, telling a complete story, although we also appreciated the chapter-by-chapter reveal.

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Split Apex navigates a murky subterranean river, the headwaters of which lie in the craggy caverns between The Shadow Ring’s stark moonscapes and the blown-out craters that Wolf Eyes patrols. The London-based duo — bassist/vocalist Peter Blundell (Mosquitoes, Komare) and Finnish ex-pat Jussi Palmusaari on electronics, percussion and guitar — prepare oblique, haunting sound constructions that thrum, squall and slither. Theirs is a squirmy brand of deconstructed song, featuring meaty bass and snippets of droll spoken word from Blundell and uncanny electronics and guitar scree courtesy of Palmusaari. The pair focus on atmosphere, squeezing sound into a warm, fluid environment that’s as suitable for thoughtful rumination as it is for growing…

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…Timothy McCormack, currently Assistant Professor of Composition at University of California San Diego, already had an impressive list of compositions and a significant discography before turning to the piano. Although that list included substantial solo pieces for other instruments, McCormack recounts that the piano had been avoided until the discovery of a ‘strange chord’ whose ‘intervention’ became more and more compelling and difficult to ignore. In the end it proved the eventual catalyst for mine but for its sublimation, a work which started as what the composer thought was going to be a ‘small side-project’ but which ended up being a year’s full on compositional effort. The pianist Jack Yarbrough was the intended performer from…

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…Tenderness was born out of a tough storm of circumstances: the pandemic, a cancelled tour, a break-up, and the loss of her father. Furloughed and with too much time on her hands, Katy Beth Young (Peggy Sue, Deep Throat Choir) began to write new songs in her north London living room, windows wide open to the hot summer outside. In August 2020, during that “weird window” of the pandemic where lockdown eased up enough for a trip to the seaside, or across London, Young visited producer Euan Hinshelwood (Younghusband, Cate Le Bon) at his Greenwich studio. In two days, the pair recorded eight demos with no pressure or plan. The final recordings are sparse in that country way but layered with Hinshelwood’s carefully chosen textures: synths, drones, rich…

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