When an artist breaks away from the path they know best, there are two expected directions they can take: either they’ll continue to make the same kinds of music they’ve always made, or they’ll sprint in the opposite direction. When the robots known as Daft Punk decided to call it quits, the humans behind the masks became free to make that choice. For Guy-Manuel de Homem-Christo, at least so far, the choice has been to step away from most acts of musical creation beyond acting as a producer for the likes of Sébastien Tellier, Travis Scott, the Weeknd and Rosalia. It’s hard to blame him for not working harder; after all, when you and your creative partner become one of the most iconic electronic music duos in the history of the genre, you don’t really need…
Category: indie
Lebanese vocalist Sandy Chamoun‘s second solo album is inspired by Sardinian polyphonic folk music the Arab ecstatic forms, modernized by synths from her SANAM and Ghadr collaborator Anthony Sayhoun and percussion from Ali Hout.
If you caught either of those heavy SANAM albums – but especially 2023’s Aykathani Malakon – then you’ll already be familiar with Chamoun’s voice, that carries the Beirut-baed band’s hallucinogenic blend of folk, free jazz and acid rock. On her own, however, Chamoun gives her voice even more room to breathe, following loose historical threads to re-interpret concepts that surge through her music. The album’s title means “the sound of tears” and it directly addresses the war and genocide in the Levant; Chamoun looks to tarab,…
There is something immediately intriguing about Dum Evol. Brighton’s Moon Attendant have created an album that feels rooted in the psychedelic sounds of the 1960s while refusing to settle comfortably into nostalgia. Across ten songs, guitars, keyboards and violin combine in ways that can be playful, dreamy, mournful or deliberately unsettling. The results will not be for everyone, and there are moments when the music feels as though it might collapse under its own eccentricity. Yet there is plenty to enjoy here, particularly for listeners willing to follow the album wherever it chooses to go.
The Sounders establishes the mood immediately, its retro-psychedelic sound providing a suitably strange introduction. The lyrics are equally…
…features a compelling remix package, alongside original demos of the album tracks, including new single, “Together (Demo)”.
British electronic duo Maribou State came into their own with Kingdoms in Colour, their exceptional 2018 full-length. With that album, they evolved from a melancholy post-dubstep act to a more exuberant, hopeful group with a fleshed-out, globally influenced sound. Kingdoms in Colour was a U.K. chart success, and the pair toured extensively throughout Europe and North America. However, both Chris Davids and Liam Ivory faced health issues when they returned from touring, not to mention the worldwide lockdowns and everything else that happened during 2020. The duo kept writing new material…
Kassel Jaeger (aka François J. Bonnet) returns to Shelter Press after Swamps / Things, Shifted in Dreams, and the recent reissue of the classic Zauberberg, co-composed with Akira Rabelais and Stephan Mathieu. With this major new album, entitled Sub Re, Bonnet continues his long exploration of the musical possibilities of sound, extending the concrete approach developed at the Groupe de Recherches Musicales, the historic and essential Parisian studio that Bonnet has been directing since 2018.
Sub re, in Latin, can mean “under the thing, under the substance, under the matter.” It’s precisely this direct approach to music, drawing on the extraction of raw sound material, that forms the basis of this album.
The first thing you might notice on Sequoia Feinson’s latest album, So Long, is the warmth and directness of the songs and his arrangements. Opening track “Protegé” eases into your ears with a calm, midtempo groove, fingerpicking guitars meshing with electric piano and trumpet. The title refers to the model of car that’s being immortalized in song: “I drove an old Mazda my brother handed down / From the kindness of his being / I wish that car was still around.” Songs about cars are as old as the invention of the car itself, but Sequoia finds a way to attach his long-lost vehicle to memories of youth and make it seem fresh, relatable, and irresistible.
Sequoia currently resides in his hometown of Portland, Oregon, but So Long was produced…
When the Blood Brothers returned in 2024, Johnny Whitney was so energized by the run of shows that he never wanted it to end. He expected his bandmates to feel the same. They played to their largest crowds, including headlining the Best Friends Forever Festival. When it became clear that the Blood Brothers were not going to become an ongoing concern again, Whitney and fellow Blood Brother Cody Votolato began work on the songs that would become Evil Island’s debut. It is a welcome return that showcases evolution and growth for everyone involved, and it’s chaotic, unsettling fun.
From the opening track, “Melted Heart”, Terraform the Afterlife is a blast of Whitney’s screech and noisy, catchy guitars, so fans of his…
Formed in 2018, the Bristol quartet emerge some eight years later with their first full-length. The record succeeds three EPs released between 2021 to 2025, ranging from the fierce and raw, grungy and economical post-punk of their self-titled debut release to ‘Anything for You’, a five-track collection highlighting increasingly expansive production and instrumental depth.
Their previous EP hinted at the direction of their first LP proper and then some, as Baby You’re a Winner showcases a broader palette of influences, richer arrangements, textured production, and clever vocals which move between solo singing, harmonising, and group interplay. Bolstered by the addition of fourth member and lead guitarist Polly Jessett, Grandmas House also…
‘Normalization’ in Czechoslovakia in the 1970s and 1980s was paradoxical: rather than a return to normality, it in fact meant renewed state control over society, culture, and public life. It followed the Prague Spring of 1968, which had grown out of the political and cultural relaxation of the 1960s, where under Alexander Dubček, reforms aimed to create ‘socialism with a human face’ allowed greater freedom of expression and artistic experimentation. The Soviet Union considered these reforms too radical, however, and in August 1968 Warsaw Pact troops invaded Czechoslovakia, bringing the reform process to an end.
From 1969 onwards, the authorities restricted freedom of expression and cultural activity, and excluded politically undesirable figures…
Across three Ghosted records Oren Ambarchi, Johan Berthling and Andreas Werliin have expanded the possibilities of the guitar-bass-drums trio with slippery yet rigid, kosmische yet earthy music that challenges the idea time exists in neatly parcelled, indivisible increments.
For Serpentine they’re joined by multi-instrumentalist Christer Bothén, who contributed Donso n’goni to Ghosted I’s opening track. Bothén’s first instrument is the bass clarinet. In the 70s he studied the donso n’goni, a six-stringed ‘hunter’s harp’ from the Wassoulou region in Mali, eventually bringing him into Don Cherry’s orbit. He’s also versed in Gnawa, learning guinbri in Marrakesh. This worldliness ripples through Bothén’s 1984 record Trancedance,…
Stephen O’Malley’s name is synonymous with duration fascination. His performances with Sunn O))) seeming to stretch out indefinitely. The sprawling recordings he also makes with Äänipää, KTL, Khanate, and Æthenor, alongside recent collaborations with his partner Kali Malone, ask that listeners sit quietly as the music slowly unfolds over lengthy intervals.
Named after a thousand-year-old tree on the Swedish island of Fårö, Avaeken is no different. Clocking in at forty-two minutes and formed of long, sustained tones that ebb and fluctuate, this work was initially composed by O’Malley for the Belgian electric guitar quartet Zwerm. It then accompanied Wish You Were Here, a site-specific exhibition by multi-disciplinary…
Communication often has multiple angles: at the beginning of Is affect real?, the third song on Frances Chang’s new album, she sings “Sometimes I want to wear / A head of light blonde hair / I don’t care if that’s unfair / Or makes me ordinary”, and she’s being vulnerable while also putting up a defence against being judged. It’s an interesting mix of defiance and insecurity, and Been Thinking Bout Confession sees Chang delivering this kind of lyrical material over idiosyncratic, contemplative instrumentals.
The piano melodies that run through I can feel the waves are sweet and playful, contrasting nicely with the song’s rickety, distorted drum machine loop. Strings add some harmonic layers, sometimes lush, sometimes uneasy, and Chang’s…
…includes the original album tracks supplemented by rare B-sides, remixes, and a pair of previously unreleased instrumental tracks.
Maps & Atlases’ second EP, You and Me and the Mountain, found the band moving in a lighter direction than the mathematical frenzy of their first EP Trees, Swallows, Houses. Their first full-length sees them fully morphed into a sophisticated indie pop group. Perch Patchwork is a bold debut, filled with bombastic arrangements, twisting modal progressions, and percussive layers. The skill set is high, but it’s far less showy. Guitarists will still be enthralled by Dave Davidson’s and Erin Elders’ fingertapping, but acoustics take precedent, and moderately slow tempos maintain the album’s balladic feel.
Dreamin’ Of is Pieta Brown’s ninth album and her second recorded with Bon Iver alumni S.Carey and Mike Lewis producing with her and forming the rhythm section, and with Jeremy Ylvisaker returning on guitar too. Her previous album, Freeway, released in 2019, met with critical acclaim and recognition from eminent peers Ani DiFranco, whose Righteous Babe imprint released the record, and Don Was, who wrote the sleeve notes. Although there has been a lengthy gap between records, this continuity of label and band gives a palpable assurance to the album.
The record is predominantly indie-folk styled, with a production feel not unlike Daniel Lanois, with a sparse and open feel, additional instruments layered in sparingly and to add texture,…
…Almost a decade ago, when the Minnesota-born Brennan Wedl was a college student living in Boston, she shared vocal duties with bandmates Lea Jaffe and Otto Klammer as a member of the short-lived queercore outfit Dazey and the Scouts, whose 2017 EP Maggot found a new cult fanbase on TikTok in the early 2021. A lot has happened since Dazey and the Scouts amicably disbanded — according to Wedl, they still maintain a “pretty active” group chat. Wedl grew up, moved to Nashville, signed to ANTI-. She amassed a star-studded crew of collaborators, including labelmates MJ Lenderman and Katie Crutchfield, sought-after alt-country and indie rock producer Brad Cook, and grunge revivalist Lindsey Jordan, all of whom have contributed to Wedl’s debut.
Ever wished you could be someone else? Ok Cowgirl’s Leah Lavigne surely has. The Brooklyn indie rock outfit’s second LP, Rhinestone Cowgirl, is preoccupied with “what if”’s and “why”’s, ruminating on the burnout and precarity in an artist’s path. Lavigne opens the record with what initially seems like an explicit expression of disillusionment: “Rock n Roll Ruined My Life” runs through the safer, more domestic scenarios that touring musicians forego for their art. But it’s the heartbreak and adventure that make it worth it, she explains as moody arpeggios simmer in the backdrop. It’s both a mourning of what could have been, and an acceptance that there’s something beautiful about putting everything on the line for self-expression. Ruining your life…