In one of his most enduring songs, Johnny Cash likened love to a burning ring of fire. Originally penned by his soon-to-be-second wife, June Carter, “Ring of Fire” gave romance a tangible feeling, a concreteness that could easily be pointed to, a sensory depth and explicative character. Combined with Cash’s signature baritone, that ineffable feeling is rendered even more tactile. There’s a reason it has become routinely recognized among the greatest love songs and as a classic in the country canon.
Love songs are a familiar character in songwriting, but Big Thief guitarist Buck Meek frames his own love songs through his subject’s unfamiliarity. On Meek’s “Ring of Fire,” not to be confused with the aforementioned Cash staple,…
Category: indie
Known for their revolving door policy, this time around Nothing frontman Nicky Palermo and guitarist Doyle Martin are joined by drummer Zachary Jones, Best Coast’s Bobb Bruno on bass, and Cam Smith on guitar. It’s the latter trio’s first time on a Nothing release, but they come together to make what could become the most complete iteration of the band yet.
A Short History of Decay presents as a confrontation of the past: grunge-infused opener ‘Never Come Never Morning’ tackles Nicky’s abusive father, while the record is bookended by ‘Essential Tremors’, on which he writes about his genetic neurological condition. This heavy sandwich is filled by what’s largely classic Nothing – the shoegazey sound they’ve made…
This Philadelphia band’s quickened in the pores & bones with jangly guitars, narrative lyrics, & juiced by some psychedelic spice. Nice contrasts. The new album was produced by Brian McTear (electric guitar/bgv) & Amy Morrissey (bgv) at Minor Street Recordings in Philly. Ten songs hang beside the Mirror In The Hallway with the band’s collective effort of original music & Drew Harris’ lyrics (lead vocals/electric & acoustic guitars/harmonica).
This second full-length indie album took 3 years to complete because they wanted it to be ambitious & perfect. Aside from the many topics that are touched upon, it’s basically about self-examination through a fine mix of roots rock, shimmering notes & rhythm, some folksiness, a fluid blend of nostalgia & new beginnings.
Ceremony returns with their thrilling new live album, Live at the Hollywood Palladium. Relapse Records drops the live album on February 24th, 2026 – marking the 2 year anniversary of the band’s hallmark performance to the very day with this special release.
The album sees the seminal punk/hardcore band headlining at The Palladium in Los Angeles. The sold-out show celebrated the anniversary of 2010’s critically acclaimed, and sought-after Rohnert Park LP. Live at the Hollywood Palladium captures the sheer intensity of Ceremony’s presence through a full set list and encore of Hardcore, Punk ragers that span the band’s years as revolutionary force in the scene.
Featuring Rohnert Park played live, and choice…
Drueling is a first for each of its participants, and quite possibly the world. It is a sequence of improvised duets between two shahi baaja players, Turner Williams Jr. and Derek Monypeny. Neither had jammed with a like-equipped player before, and if there’s another record of one, it’s flying below the radar of readily available search engines. So, let’s just say that this LP is the first, and if a genre is to ensue, it’s off to a good start.
Monypeny is based in California, where he’s carved out a solo career playing desert-kissed electric music on guitar and shahi baaja following early involvement with the groups Alto and Oaxacan, as well as membership in Sir Richard Bishop’s Freak of Araby band. Williams is an Alabama-born visual and musical artist who has played…
1905 gave the world the concert premiere of Claude Debussy’s La Mer. 1905 was also the date of an Austrian ethnographic expedition to Papua New Guinea that brought back sound recordings from the island.
120 years later, London-based DJ Nkisi (Melika Ngombe Kolongo) used those recordings as part of the fuel for her latest outing, Anomaly Index: 40 minutes of acoustic imperfections, club beats, and traces of the music that a few pre-1910 expeditions attempted to document. Suffice it to say, this sounds nothing like La Mer.
Nkisi is known for throwing wildly disparate influences into the pot. She has roots in Central Africa and has drawn on ethnographic material before. Performing in clubs, the beats…
The genocide in Gaza continues despite the ceasefire. In January 2024, braving the heart of the horrifying conflict, Mai Mai Mai sojourned to Bethlehem and Ramallah to record with Palestinian musicians and capture the raw emotions of the region. Karakoz is the heart-rending result.
One need not speak the language to hear the sorrow in “Grief.” Maya Al Khaldi begins in a whisper as Mai Mai Mai builds a warm ambient glow around her voice. As she begins to sing, the ambience turns to drone and the sun seems to recede. The percussion imitates a heartbeat, soon joined by dark electronic tones. The gobbling monster is already here, has already passed through, has turned around for another strike.
While glimpses of brightness will appear in…
There are artists who treat solo albums as side notes, and there are those who seize the chance to excavate new terrain. With Taproots, Robin Richards, principal composer of Manchester’s idiosyncratic art-pop band Dutch Uncles, delivers a record that feels less like a digression and more like a statement of intent. If Dutch Uncles built their reputation on angular pop exuberance, Richards’ debut long-player re-roots him in a more contemplative, exploratory soil: part electronic meditation, part modern classical suite, part intimate diary.
Richards is no stranger to ambitious projects. With Dutch Uncles, he helped shape six albums that earned comparisons to Talking Heads for their wiry rhythms and brainy exuberance.
The complete 19-track collection combining both installments of Yungblud’s album ‘Idols’, which adds 6 brand new songs and a re-imagined version of the GRAMMY® nominated single “Zombie” with The Smashing Pumpkins to the tracks released June 2025.
Since emerging in the late 2010s, the British yelper Yungblud — a.k.a. Doncaster, England-born Dominic Harrison — has become an anti-pop hero. His songs channeled the angst and agitation of youth into frenetic mini-anthems that musically reflected the on-shuffle mentality of the 21st century. Yungblud’s voice — a piercing yelp that exists somewhere between Gerard Way’s wail and Brian Molko’s sneer — slotted him in the alt-rock world, but his aspirations seemed…
On her sophomore album Speed Kills, Ally Evenson revels in the ecstasy, longing, and anger that comes at the end of a relationship. Following up her debut record, Blue Super Love less than two years later, the LA-based singer-songwriter has a lot to say about love and moving on.
Evenson is a multi-talented songwriter, vocalist, and guitar player, and is also credited as a producer on the record. Her songs feature distorted electric guitar riffs, sleek synth production, and even acoustic guitar on the pensive final track “Stoic”. She shows off her guitar skills on the track “Blame it on You”, which starts with an electric guitar riff based on the opening of Lit’s “My Own Worst Enemy”. The whole record feels inspired by this spunky 90’s culture, and…
Pat Thomas takes a leaf out of the Darius Jones titling book, with his puzzling selections. XT is Paul Abbott and Seymour Wright, the latter a regular with the pianist’s [ahmed] combo.
The vinyl and CD alternatives feature different versions of the chosen piece, but the digital makes all five available, three manifestations in Zürich and two sets from Cafe OTO in London. The opening first set (taped at OTO) is 43 minutes, and the closing first set from Zürich is almost 17. This latter is the most acoustic showing of what we know as free jazz, jabbing piano galore. Two hours and 47 minutes in its optimal digital entirety!
But not a moment is flab. Every second is vital. Boiling up in a shard-bucket of torn-up and dismembered electronic fragments,…
The star of Trio Ramberget‘s self-titled sixth album isn’t Trio Ramberget, but a “fourth player”, a big oil cistern on the island of Svanö, Sweden, in which the album was recorded. While it’s unclear how many people can fit in such a cistern, while listening, one yearns for the live experience; such is the gorgeous reverberation, the echo, the decay.
Released on New Year’s Day, Trio Ramberget is perfectly suited to the sprawl of deep winter and the contemplations of a new year. There are no markers in the slow, six-part suite, which flows together as one, although the tone changes subtly from piece to piece: for example, the peering into a higher register in the second part. The trombone, bass clarinet and double bass find themselves in conversational territory with…
In the beginning, there was This Heat. Charles Hayward and co traversed the disused pie factories and damp warehouses that suffused South London, and the resultant music was something seriously challenging: dread-laden, perversely fun, janky, dancey, genre-collapsing. Some believed it encompassed post-punk.
…Based in South London, MPTL (‘My Pussy Tastes Like’) Microplastics describe themselves as an “8 person industrial folk collective playing chronoplastic ballads of the future / folk music for a polymer people / stiob-eulogies arranged in the canon of the desecrated harp / crisis songs for the exploding (micro)plastic inevitable” (or 8PIFCPCBOTF / FMFAPP / S-EAITCOTDH / CSFTE(M)PI, for short). They are also…
Long before Rosalía’s operatic theatrics broke the internet, Colin Self was injecting joy into the artform via an experimental trans-feminist opera project called Elation. Launched in 2011, the series consisted of multiple parts with 2018’s Siblings followed by Orphans in 2019. Self re-emerged five years later with the lemniscate EP, after enduring a particularly challenging period marked by “loss and uncertainty.”
Originally released last February, respite ∞ levity for the nameless ghost in crisis became the follow-up to lemniscate and the third full-length album for the U.S.-born composer, producer, choreographer, and multidisciplinary artist — a record described in the press notes as “a greeting after years of conscious exile.”
These days the term singer songwriter has grown in its scope from just a solo artist with an acoustic instrument and introspective lyrics to a solo artist that basically has a mind of their own and goes anywhere where their fancy, inspiration, and inventiveness take them.
You can add to the latter Delaney Bailey, who after millions of streams has readied her debut album Concave, an album where she seems to care very little about neat musical labels and genres, covering a vast ground between dream pop and everything else, keeping that introspective music and lyrics concept fully intact.
And she may be doing it all instinctively, but she seems to have a deep musical background that she has transformed into music of her…
Belfast-based Dani Larkin follows up her 2021 debut Notes for a Maiden Warrior with the spellbinding Next of Kin.
A mix of traditional songs and self-composed pieces, it is an enthralling listen.
Larkin’s storytelling provides the keystone, taking the listener on a journey through coming-of-age into adulthood, before concluding with a poignant and mesmeric rendition of ‘Danny Boy’. ‘End of It All’, a “song for the times”, layers Larkin’s vocals with David Odlum’s beat-driven drums and Ruth O’Mahony Brady’s moody synth.
Add in a haunting echo of the children’s rhyme ‘Row Your Boat’ and you are left with an uneasy, yet hypnotic, listen.
Reflective and at times playful, Next of Kin…
Convention versus innovation: it’s techno’s constant battle. Sure, there aren’t meant to be rules, but ultimately it’s music created to blend and flow within a set. Dallas-born artist Gautham Garg, AKA Decoder, has been probing at this very tension from an early age. Since debuting at just 17 with Dark Shape on Jeff Mills’ Axis label in 2021, he’s released a head-spinning six albums and well over 20 EPs before arriving at his new double-length LP, Prakasa.
Now, at 21 years old, Garg’s sound has matured through action and experience. Dark Shape boasts all the taut, impactful production and functionality you expect from an Axis release, but the dry, monochromatic loops have a formulaic, techno-by-numbers quality to them.
Although they’re based on opposite coasts, Elori Saxl and Henry Solomon have collaborated in the past – Solomon played in Saxl’s quartet live and accompanied her on the Texada soundtrack and Drifts and Surfaces EP – but this latest release marks the first time they’ve worked together as equal partners. With Solomon on baritone saxophone and bass clarinet and Saxl on the Juno 106 synthesizer, Seeing Is Forgetting exquisitely blends ambient and jazz while working in the occasional pop melody.
Saxl is based in New York City, and Solomon is in Los Angeles; their new record was recorded in Solomon’s hometown over five days. Self-described as “improvised music from the ground up… a meeting of both our minds,…
