…Composer and sound designer Victoria Barca combines bleeps, crunchy percussion and chirping electronics on her albums to create music that blurs the line between acoustic and synthetic, laboratory-created and field-recorded. Her fourth album, released by Mondoj, has the power to create musical worlds. It combines electronic, electroacoustic and acoustic sounds, juxtaposing exotica-style sounds, quasi-folk forms, vocalisations and snippets of recordings. It also shows the potential and possibilities that sound offers. This album was created almost entirely without leaving home.
…Camilla Nebbia’s saxophone in ‘Sporo’ spins seductive phrases, sounding as if someone were playing in the next room. Everything here…
Category: indie
This first record to feature Ryuichi Sakamoto, a collaboration with percussionist Toshiyuki Tsuchitori, pre-dates both his first solo album and also the debut release of Yellow Magic Orchestra by a couple of years.
However, its re-issue here, the first on vinyl since the 1976 original, is very welcome, and highlights both his versatility and, at the same time, the breadth of his musical interests, from modern classical (as an undergraduate, he paid close attention to the likes of Stockhausen) to what would become known, not very satisfactorily, as world music reflecting his postgraduate studies in ethno-musicology. There’s also more than an echo of his enthusiasm for such jazz figures as Herbie Hancock. In the context of his role in…
Three years after Planet Mu released Flood City Trax, an illuminating LP by Pennsylvania-based producer Nondi_, the label simultaneously issued two more efforts by the artist, the proper album Nondi… and the limited Bonus Nondi… As with Flood City Trax, Nondi… is a mix of tracks that first surfaced through the producer’s netlabel, HRR, as well as previously unissued works. She describes Nondi… as containing some of her prettiest material, as well an expression of the sense of freedom she experienced when she got into her musical influences. Her tracks embrace the abstract sides of club culture — the weirder elements of footwork, outsider house, IDM, glitch, and dance music that isn’t really all that danceable — and filter them all through the lens…
Tron Ares: Divergence arrives as a surprise release from Nine Inch Nails, shadow-dropped on February 27, 2026, right in the middle of the band’s North American arena tour. Framed as a remix companion to their score for Tron: Ares, the album feels less like a simple reworking and more like a parallel universe to the original soundtrack—darker in places, more club-oriented in others, and fully committed to pushing the digital dystopia of the Tron world into new sonic territory.
The release is currently digital-only, but it’s presented as a two-disc set that reflects two distinct moods. Disc 1 reimagines the Tron: Ares material through new compositions and remix collaborations with a range of electronic artists, pulling the score toward industrial techno…
Crooked Fingers was the solo project of singer/guitarist Eric Bachmann. In the wake of the 1998 dissolution of his much-beloved previous band Archers of Loaf, Bachmann founded Crooked Fingers in early 2000.
One afternoon, Eric Bachmann’s son returned home from school with a sheath of pictures he’d drawn, all of them macabre. “There were crows and sinister figures with scythes and tombstones,” he recalls, “and in the center, there was a strange, lush green tree growing out of all of this red and black. On one of them, he had written ‘Deth, Swet Deth,’ and everything clicked in my head.”
Swet Deth, Bachmann’s first album under his Crooked Fingers moniker after a 15-year hiatus, organized itself around the image: its songs…
In January 1984, The Colourfield released their eponymous debut single. It stalled just outside the Top 40, a better fate than that awaiting its follow-up, ‘Take’, a few months later, which barely made the Top 75 at all. It was a markedly different reception to that afforded frontman Terry Hall’s previous enterprises, both of which had been successful from the get-go: The Specials’ debut single ‘Gangsters’ was a Top 10 smash, while The Fun Boy Three debuted in the Top 20, the British public having chosen to ignore the fact that ‘The Lunatics Have Taken Over the Asylum’ was wildly uncommercial.
But the fans that were happy to send that gloomy stew of lumbering percussion, needling organ and lyrics about famine, nuclear war and…
Jackie West has a feathery soft voice, the kind of instrument that might not wake you up fully if you heard it in your while asleep but rather inclines to infiltrate your dreams. This second full-length, the second also to be released on her husband Dan Kniskowy’s Ruination record, makes an impact without excessive volume or drama. It sheathes cool-toned melodies in delicate layers of vocal and instrumental sound.
West says she wrote and recorded Silent Century as a mostly solitary effort, one that allowed her to examine and incorporate the dialogues that played out in her head. It is populated by many voices, then, but also the same voice, or perhaps the same person in many different ways. Thus, the heady country holler of “Overlooking…
“Half of my whole life is gone,” Mike Hadreas sighed on the opening of Perfume Genius’ 5th album, the high-water mark Set My Heart on Fire Immediately. Though that may sound like an expression of regret, Hadreas sang it with a kind of guarded optimism — opening a door into a record that gleefully documented life’s contradictions through odes to connections to the self and others.
On Glory, Perfume Genius’ latest, Haderas is once again mulling the grand arc of his existence. He ponders “my entire life…” on “No Front Teeth” before pausing. Then, he confesses: “It’s fine.” On the nervy, agoraphobic “It’s a Mirror,” he admits, “My whole life is/Open just outside the door.” He’s isolated, stuck inside his own agonizing thought patterns, and he knows something…
Joseph Oxley has long made music that feels like tuning in to a pirate radio station broadcasting from the 1990s. As TVAM, his go-to staples are saturated guitar, acid keys, dreamy shoegaze-frayed vocals, and beats like the stamp of a thousand Doc Martens.
Ruins, however, flicks the dial towards something far more personal, its once-bright palette now refracted to near-monochrome.
The emotional shift is immediately obvious. “Comfort Collar” opens with a heavy-footed pulse and a smear of synth like blue neon through rain-streaked glass. It’s oddly comforting in that slightly seamy way a goth disco can be. From there, the record moves through titles like “The Gloom,” “In Memory” and “The Haunted,”…
Following a pair of albums that found Toronto’s cootie catcher developing and corralling a charmingly impulsive indie sound that draws on garage pop, lo-fi slacker rock, new wave, jangle pop, and more, Something We All Got marks the band’s Carpark Records and proper studio debut, and it’s their most accessible set of songs yet. Having said that, the group’s whimsical practice of injecting far-flung timbres and effects into their songs, as well as a certain flat-tire wobble in their performance style are both joyously still in play. The generous 14-song track list begins with “Loiter for the love of it,” which sets the stage with claves, woodblocks, and harmony vocals from two of the quartet’s three rotating singers (Nolan Jakupovski, Anita Fowl, and Sophia Chavez)…
In life and art, strong emotional reactions and restraint are frequently placed at odds with one another. A decade that has felt unmoored at best and marked by upheaval – dotted with climate events that have wrought havoc on different locales and been quickly forgotten – has inspired plenty of bold artistic responses. For Maria BC, an artist whose work has covered dark folk and goth territory and who has explored the potential of different electronic elements, the impulse to respond to these environmental pressures by being louder, denser, more aggressive would seem natural. However, on their third album, Marathon, they have instead pulled back sharply on the production, and these decisions build a low-simmering, tense mood in a gentle guise.
This latest release from Stephen O’Malley consists of two organ drones, each more than 20 minutes, recorded on Les Grandes Orgues at Église Saint‑François, Lausanne.
This 18th-century instrument had been twice updated and expanded. The pieces were played by O’Malley, Kali Malone, and Frederikke Hoffmeier in December 2021.
O’Malley is best known as a co-founder of Sunn O))), where his measured yet high-volume approach helped define a major sub-genre of 21st-century drone and doom metal.
Across projects, collaborations, and commissions, he continued to push into more diverse forms. As a consequence, this pipe-organ recording serves as a logical extension to his works rather than a detour.
When Voxtrot reunited in 2022, it didn’t feel like a nostalgia grab. The Texas indie band, which first gained traction in the mid-2000s with a pair of self-released EPs and a strong debut album,came back with renewed purpose. Dreamers in Exile is their first full-length in nearly twenty years, and instead of trying to recreate their early jangle pop sound, it shows what happens when a band reunites with more experience and a clearer perspective. Recorded at bassist Jason Chronis’ Haunted Air Studio in Lockhart and mixed by Dean Reid, the album is catchy and poignant.
Opener “Another Fire” lays out the record’s approach right away. The guitars still jangle, but there’s more weight behind the lyrics. Ramesh Srivastava reflects on identity, history,…
British singer/songwriter Bill Pritchard has been on a path just outside of the limelight since he began releasing solo albums in the late ‘80s. Occupying the time-honored role of “your favorite musician’s favorite musician,” Pritchard’s thoughtful, storytelling tunes have been championed by other artists, and placed by critics alongside the introspective and clever styles of Lloyd Cole, Robyn Hitchcock, and the like. Pritchard’s 1991 album Jolie was a landmark for him, as its pop-friendly arrangements and heightened production approach from the Lightning Seeds’ Ian Broudie made it one of his most well-received records. Though Pritchard never strayed completely from a pop sound, he’s also experimented with different sides of his songwriting; exploring somber piano balladry…
Lala Lala‘s Lillie West has come a long way from the DIY grunge-inflected debut Sleepyhead to her absolutely standout fourth offering, Heaven 2. Its club-ready, saxophone-led opener ‘Car Anymore’ evokes Destroyer alongside ‘Trans-Europe Express’, as if it’s carrying her away from the past on a high-speed train.
This metamorphosis began right at the end of her breakthrough sophomore album The Lamb back in 2018, on the closing track ‘See You at Home’, which sealed West’s personal shift. “So we’re working with water / I promise I’ll drink it ’cause it’s all I’m allowed to”, she sang under Sen Morimoto‘s tender saxophone, making one of many promises to stay sober after giving up drinking. As we can see now, it worked, and…
…includes a bonus disc of demos and two previously unreleased B-sides from the original sessions, “Comin’ To You” and “Harpsi Chords”.
The third solo album by K Ishibashi under his Kishi Bashi moniker, Sonderlust comes with a tweak to his sound, a footnote on the title, and some emotional baggage. The title is a play on the recently invented word sonder from the Web’s Dictionary of Obscure Sorrows. Essentially, it refers to the realization that any random stranger has a life experience as vivid as one’s own. As for the baggage, Ishibashi has admitted to suffering marital woes while working on the album, a fact that affected its tone and especially lyrics, which are often colored by uncertainty. It may also have altered his creative process, given…
“I don’t remember yesterday, but I remember when I was eight years old.”
The opening lyrics of “Sure & Steady,” Gained / Lost’s second track, underline a core concern of UK indie stalwarts The Wave Pictures’ 20th (!) album: the passage of time, what can and cannot be remembered, what may or may not have a bearing on the here and now. A look at the images collected for the Exile On Main Street-style sleeve of Gained / Lost confirms what’s going on.
Thematic considerations aside, The Wave Pictures have a fondness for American musical archetypes. Despite guitarist and singer David Tattersall’s Edwyn Collins/Vic Goddard-esque voice, he and the band – Jonny Helm (drums) and Franic Rozycki (bass): a female vocalist who is…
There’s an undertone of disappointment in Heavenly’s happy, peppy, tootling power pop, a sense of vulnerability and ache even in the bubbliest cuts. “Excuse Me,” an early single, is about as affirming and positive as garage pop can get, with bashing drums and ecstatic bursts of guitar strumming, but it centers around the wistful lyric “Excuse me, I thought you were someone else/they’ve been on my mind.”
This is the fifth album from the Oxford twee-pop mainstays, a band that formed out of the remnants of C86 outfit Talulah Gosh, around songwriter Amelia Fletcher, her brother Matthew on drums, Peter Momtchiloff, Cathy Rogers on keyboards and Rob Pursley on bass. Heavenly’s main run happened in the early to mid-’90s, the first…
