Joe Pernice has been playing an uncompromising brand of indie music for more than three decades now. He dug into alternative country with the Boston-based Scud Mountain Boys before switching to a more indie rock/pop sound with the Pernice Brothers. But it’s his latest — and first — solo studio effort, where he strips it all down for a mellower, often somber vibe that is as beautiful as it is thoughtful.
The album opens with the pristine and surprisingly sardonic “Peace in Our Home,” with Pernice gently singing the title over light acoustic guitar and immaculate harmonizing backup vocals before adding the stinging “…when you’re gone” to punctuate the song. “Deep into the Dawn,” the following track, is just as mellow,…
Category: indie
Offering up more of her perceptive, increasingly world-wise songs, Responsible Friend is Elizabeth Ziman’s sixth Elizabeth & the Catapult album and first since the COVID-concerned sincerely, e. A little more playful but no less profound, it finds her grappling with relationships, work, and, more generally, human stewardship amidst the existential threat of things like worsening socio-politics and climate change. Ziman produced much of the album herself, but longtime collaborator Dan Molad (Lucius) produced four tracks and mixed most of the songs, and Jon Titterington (Father John Misty) lent a hand on a couple tracks.
Responsible Friend opens with the earnest “I Love You Still,” a song whose tender, supportive sentiments are underscored by…
If you could distill the guiding philosophy of Robber Robber’s second album down to a single word, it would be the one that appears about a minute into “Avalanche Sound Effect”: “upend.”
With a frenetic, trash-can-clanging backbeat ricocheting behind her, singer and guitarist Nina Cates calmly repeats that word as if reciting her daily-affirmation mantra, transforming a word synonymous with upheaval and disorder into a source of strength and possibility.
Certainly, the Burlington, Vermont band can appreciate the value of a good coping mechanism: In January 2025, the building where Cates and drummer/partner Zack James resided caught fire. Though the couple’s apartment was spared any major structural damage, every…
Jed Bindeman’s ears hurt. As a co-founder of reissue label Freedom to Spend, he acquired some 1,200 cassettes from the archive of ND, an influential Austin-based magazine from the ‘80s and ‘90s, and began systematically working through the stacks of tapes. What he found made all the effort worthwhile: a home-recorded, self-illustrated cassette by someone called Larrison, entitled Connecters [sic]. When he pressed play on this mysterious tape, Bindeman heard a warbling, lo-fi keyboard, amateur yet sophisticated, unlike anything else he had encountered.
It turns out that Bindeman’s tape was the only copy of Connecters in existence. Its creator, Larrison Seidle, had moved from Indiana to Austin and recorded the entire album on…
Six years to the date of his last LP, Thundercat release his fifth studio album, Distracted, coming out via Brainfeeder. The new album features contributions from A$AP Rocky, WILLOW, Tame Impala, Channel Tres, Lil Yachty and a previously unreleased collaboration with the dearly departed Mac Miller.
Distracted was primarily created in close collaboration with a new creative partner for Thundercat – the superproducer Greg Kurstin, known for his work with some of the biggest names in pop like Adele, Paul McCartney, Sia, Beyoncé, Beck and more – with additional production turns on the record from Flying Lotus, Kenny Beats (Kenneth Blume), and The Lemon Twigs. Distracted vividly captures…
VOLUMES: ONE, the first non-studio release from Bon Iver, captures 10 distinctive live performances, recorded between 2019 and 2023, showcasing Justin Vernon and his band at their most whole. There’s a warmth and exuberance across the album, as well as the sort of muscular sound you can really only get at a live show. For the uninitiated and die-hards alike, these recordings could well be the defining versions of the tracks, no doubt made possible through the essential live engineering of Xandy Whitesel and performances from bandmates Jenn Wasner, Sean Carey, Michael Lewis, Matthew McCaughan, and Andrew Fitzpatrick.
Vernon began working on VOLUMES: ONE in 2020, and he spent a considerable amount of time combing through concerts…
When Dave Grohl and Nate Mendel took over the curation for the May 2026 issue of MOJO, they didn’t just pick a few favorite songs—they built a bridge between the Foo Fighters’ legendary past and their 12th studio album, Your Favorite Toy.
Foo.Fm functions as a 15-track “musical odyssey.” It’s a rare look behind the curtain at the records that fueled the band’s recent creative pivot back to their punk-rock roots.
The tracklist is a masterclass in balance, weaving together the “holy trinity” of their influences: legacy pioneers, contemporary heavyweights, and the new guard of alternative rock.
The compilation kicks off with a heavy nod to the underground. The inclusion of Hüsker Dü and Kim Gordon acts as a reminder…
Horrorful Heights marks a formidable new chapter in The Bevis Frond’s deep and storied catalogue, showcasing the enduring creativity of songwriter, guitarist and frontman Nick Saloman as he moves into yet another decade of recording. Long established as one of the most distinctive voices in British underground rock, Saloman continues to refine the band’s signature blend of melodic psychedelia, wiry guitar epics and sharp, emotionally attuned songwriting. Horrorful Heights offers one of the most approachable entry points to the band’s world in years: a record that gathers their core strengths into a cohesive, vivid set.
Recorded with long-time drummer Dave Pearce and guitarist Paul Simmons, alongside new bassist Louis Wiggett, the album moves…
Wendy Eisenberg has evidently always been a fan of the rhetorical question, but perhaps never more so than on Wendy Eisenberg. “You are the oldest you’ve ever been,” they intone, sweet and clear, on the opening track: “Did you feel yourself change?” Whos, whats, wheres, whys, and hows abound: see “Who was I becoming?” (“Meaning Business”), “What gave me that idea?” and “Where was I when that happened?” (“The Ultraworld”), “Why did I try? Did I try?” (“Will You Dare”), “Is that how I wound up here?” (“Another Lifetime Floats Away”). But, as with all rhetorical questions, there are no answers expected. The asking — or, more specifically, the spacious, open silence that follows in the question’s wake — is the point. After all, absence is itself a kind of presence. Those gaps…
Emerging out of semi-nowhere — well, Northwich — the Charlatans were saddled with a name that lent itself to jibes about their quality and the early burden of being a one-hit wonder with “The Only One I Know.” That all changed when Some Friendly, the group’s debut, planted itself at the top of the UK charts in 1990. Drawing on Martin Blunt’s background in mod and psych outfits, Rob Collins’ outrageously funky keyboards and Tim Burgess’ unexpected star quality, Some Friendly combines the joyous bounce of baggy with the good natured immediacy of indie pop, then wraps it up in state of the art production. Some of the lyrics betray Burgess’ sharp-tongued punk background — “You’re Not Very Well,” the opener, expresses anything but sunny sentiments…
…Tracey Thorn and Ben Watt met while studying at the University of Hull in 1981. Thorn had already formed the DIY post-punk group Marine Girls and recorded their beloved debut album Beach Party. Meanwhile, experimental singer-songwriter Watt’s debut single – ‘Cant’, produced by Kevin Coyne – was released that year on Cherry Red. The pair started a side project, Everything But the Girl, and released their first EP, Night and Day (led by a cover of the Cole Porter standard) in 1982.
After a couple of years pursuing their respective solo projects, Thorn and Watt came together again in 1984 for their debut full-length, Eden, a timeless set of plaintive bossa nova (No 28 single ‘Each and Every One’), shimmering indie-pop (‘Another Bridge’), wee-small-hours jazz…
In the liner-notes to this, the tenth studio album that Stephen O’Malley and Greg Anderson have released as Sunn O))) the nature writer and poet Robert MacFarlane compares the band’s music to the sound of storms, a fast-flowing river and the shifting of tectonic plates.
They are familiar images to any fan of the drone metal duo who has followed their career over their past 26 years, and read reviews in which critics attempt to ascribe powerful visual images to the dynamics, tone, amplitude and physical effect of such landmark releases as 2005’s Black One, 2009’s Monoliths & Dimensions and the 2019 Steve Albini-produced double of Life Metal and Pyroclasts. As O’Malley himself has said, “It’s putting language on something…
Minneapolis-based novelist, songwriter and vocalist Dan Hornsby is not the first to lead a band, but might be among the first ones to set his lyrical vision through jangly guitar rock with his band True Green.
Hail Disaster, the band’s second 13 songs are set in that catchy musical frame that somewhat abandons the band’s original lo-fi sound for a clearer sound and warmer production values, that shine a brighter light on both the band’s intricate instrumental sound and Hornsby’s literate lyrics.
In many ways, the music on the album draws comparisons to both David Berman’s Silver Jews and solo output, as well as Phil Elverum’s The Microphones phase, to which Hornsby and multi-instrumentalist Tailer Ransom add…
Slayyyter’s music is vile, explicit, and a threat to common decency. Since her early days as a salon receptionist, the artist formerly known as Catherine Garner has channeled her unbridled id with a head-spinning boldness that would be probable cause for exorcism in most God-fearing countries. Over beats as blunt, chromatic, and gleefully stupid as a Jeff Koons sculpture, the singer has vied to make hyperpop more garish and alarming by being hornier, messier, and more extreme than her peers. Together with producer Ayesha Erotica, she dared listeners to join her Bimbo Summit as she barreled through Y2K hedonism without the burdens of taste or conventional morality to slow her down. The mileage one got out of songs like “Daddy AF,” “Throatzillaaa,” or “Purrr”…
There’s a current tendency among post-modern classical composers to paint their musical pictures, or compositions if you will, in darker overtones, but then, it just might be the mirror of the times we live in. Or, as a composer, you can devote a composition cycle to an inspirational friend and colleague who passed too early, as Canadian post-classical composer Matthew Patton, who operates under the moniker of Those Who Walk Away, does on his latest release, Afterlife Requiem.
Devoted to, as he points out, a friend and collaborator, late Icelandic composer Jóhann Jóhannsson, Patton uses an interesting concept – he combines drone, electroacoustic, and near-silences extracted from unfinished recordings on Jóhannsson’s hard drives, underpinning…
In Raven Chacon’s music, listening is about paying attention to silence as much as sound. The composer, performer and installation artist presents this dichotomy across experimental noise, chamber and installation works that unfold through layered timbres and ample rest.
His pieces leave space for ideas to emerge in moments that could seem, at first, like quietude. But listen closer and find that so much lives inside: the weight of history, the power of protest, the resonance of performing spaces.
Voiceless Mass, recorded by Milwaukee-based ensemble Present Music, presents three of Chacon’s chamber works that each offer a different lens into his use of sound and silence, showcasing how listening extends beyond pitch.
Xerrox Vol. 1 marked a pivotal juncture of Alva Noto’s process-based, multimedia art, when it transformed from precision-tooled, pulsating minimalism to diffuse states of cinematic atmosphere. By the point of its release, 200, Carsten Nicolai had spent over a decade rising to acclaim for his exquisite, methodical glitch works, including contemporary classics in duo with Ryuichi Sakamoto.
But Xerrox Vol. 1 would radically alter his work’s aesthetic away from microscopic, pointillist grammar to explorations of lusher textural and widescreen fascination, systematically sampling and displacing familiar, everyday sounds – advert jingles, phone “hold” tones, film scores – within swelling symphonic structures that exist…
What would be experimental folk exactly? As with any other genre, it would approximately mean that you as an artist are not taking the usual routes associated with such a genre, and it could be anything from bringing in elements from elsewhere, to not so usual performance, lyrics and anything else that might be considered ordinary.
You can get practically all of that on Bird or Snake, the second album by Chicago-based singer songwriter Emma Hospelhorn, who operates under the moniker of Em Spel. It is more or less all there – jazzy song structures, classical flutes, found sounds, subtle electronics, and lyrics that go into deeper subjects.
Hospelhorn wrote the songs and produced them herself, with additional production by…
