Category: indie


“Many found the music offensive, the dancing objectionable, and the popularity of both with young people verging on a mental health crisis.” So writes music historian Susan C. Cook about ragtime, the heavily syncopated ancestor of jazz that arose in the late 1800s. Like all things, ragtime’s subversiveness faded over time, and, a century later, the works of Scott Joplin and other practitioners had been relegated to carnivals and fairs, their jaunty piano melodies now evoking quaint notions of old-timey fun. On their debut album Euphonic Sounds, Los Angeles duo Ragger — Marc Riordan and Jon Leland — aim to recapture some of ragtime’s original spark while giving it a relatively modern edge.
Ragger’s basic idea — ragtime compositions…

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In the world of electronic pop, Danny L Harle is something of a Max Martin figure. Over the past several years, the English producer and songwriter has become a go-to collaborator for both emerging and established stars, generating an impressive list of hits while pushing the genre into colourful new directions.
As a solo artist, Harle’s music is decidedly weirder. As a member of PC Music, the revolutionary collective out of London, Harle helped define the exaggerated, bubblegum-and-supersaw sound that defined early hyperpop. On 2021’s Harlecore — a marvellously absurd, high-concept album that imagined a virtual club soundtracked by Harle’s four rave-focused alter-egos — he dove headlong into happy hardcore, gabber…

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There isn’t a shortage of post-punk-leaning indie bands coming out of Ireland – whether it’s Fontaines or The Murder Capital, or, more recently, Basht or Gurriers. Cork-based Cardinals are the latest to stake a claim in the scene. And while they certainly draw on the blunt bleakness of their predecessors, accordion flourishes add folky warmth to their otherwise sombre sound.
Masquerade unfolds in two halves. The first half features forlorn ballads: the propulsive melancholy of the title track, the swinging accordion of ‘I Like You’, and the baroque folk of ‘She Makes Me Real’. Each track holds its own but teeters on the edge of flight, as if waiting for a cue to take off.
However, the second ‘I Like You’ becomes ‘Over at Last’ (or, the midpoint that marks…

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Although they dropped the Cascading Moms moniker from the release this time around, Hungry Animal returns the Luke Temple-led trio that he debuted on 2024’s Certain Limitations. Here, the rhythm section of bassist Doug Stuart (Brijean, Toro y Moi) and drummer Kosta Galanopoulos (PWNT) lock in, with basslines seeming to guide the track list. The only other musician involved in sessions was Josh Mease (Fruit Bats, Lucius), who plays guitar on two tracks.
From the get-go, the rhythm section’s nonstop grooves nimbly navigate tracks including the dubby opener, “Clean Leaving,” an examination of the futile quest for purity; the more angular, proto-punk-injected “Shake Me Awake”; and the more-cosmic rock of “Love Means Light…

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On their previous album, 2022’s Solidaritine, Gogol Bordello shifted more towards a hardcore punk sound, driven by the Russian invasion of Ukraine. 2026 doesn’t offer much in the way of hope on that front, but the band has moved back to their wide-open, global music influences, delivering tunes that mash up multiple genres and layers of musicality on We Mean It, Man!
For Solidaritine, Eugene Hütz worked with NYHC legend Walter Schreifels (Gorilla Biscuits, Quicksand) on production duties to tighten the focus. This go-around, he brought on board both Nick Launay (Yeah Yeah Yeahs, Amyl & The Sniffers, IDLES) and Adam “Atom” Greenspan (Amyl & The Sniffers, IDLES) to broaden the sound.
The excellent opening title track begins with…

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Through their first three albums, Demob Happy were many things: indie sleaze princes, post-grunge romanticists, ’80s synthwave cosplayers, the list goes on. Fortunately, they could do it all well, and that afforded them the ability to shift their sound and try their hand at new things.
But coming into their fourth album, they tried something seemingly radical: just being themselves. And the result is some of their most unflinching work yet.
Written on a desert retreat to the legendary Rancho de la Luna in Joshua Tree, The Grown-Ups Are Talking is the sound of a band reckoning with their past and maturing in real time. Whether they’re singing about betrayal on ‘Judas Beast’, ruminating on male suicide on…

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Singer-songwriter, drummer and multi-instrumentalist Momoko Gill has long been a key background player in the community of jazz-adjacent artists who have coalesced around north London’s semi-legendary Total Refreshment Centre studio complex, live venue and social hub. After spending much of her childhood and teens in Japan and California, Gill was inspired to forge her musical career in multicultural London, initially through collaborations with more established left-field musicians including Matthew Herbert, Alabaster DePlume, Coby Sey and Tirzah. Many of these bigger names repay the favour with guest appearances on this impressively eclectic solo debut, which straddles the line between spiritual jazz, retro-inflected soul and…

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…This expanded reissue adds 8 songs recorded at Inner Ear Studios in Arlington, VA, a few months after the album sessions. These sessions provided playfully experimental B sides to the album’s singles, two cover songs (the New Order cover “Your Silent Face,” and a Beach Boys cover) for a single on Merge Records, and a compilation track.
The problem with Copacetic was the dingy production, so for Simpatico, Velocity Girl hooks up with the Smiths’ first LP producer John Porter. Flaw corrected. Perhaps too much? Some have expressed the opinion that Porter has neutered them somewhat, and indeed, the rawer edges have largely been relinquished, but so what? They sound great now, much tighter, more convincing, more together. Constant touring has…

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According to Sam Bielanski, frontwoman of Toronto indie-pop duo PONY, the idea for Clearly Cursed came from her first visit to a psychic. During this encounter, the psychic read Bielanski’s tarot cards and stated that Bielanski’s boyfriend was cheating on her — which turned out to be true — and that, more crucially, Bielanski had a dark spirit attached to her soul.
For the low, low price of $1,500, the psychic promised to exorcise this demon. Bielanski, 21 years old at the time, couldn’t pony up the cash, and she left her psychic visit realizing she’d have to coexist with this curse for the rest of her life.
But if Bielanski is indeed marked by a maleficent spirit, you can’t tell on Clearly Cursed — not with how bubbly and spunky its tracks are.

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Have you ever wondered what would have happened if Lou Reed became interested in Americana and recorded with Gram Parsons? Well, if that unlikely combination seems intriguing, then The Nude Party’s Look Who’s Back is for you.
Of course, that oversimplifies the group’s sound, but those two touchpoints are the chocolate-and-peanut combo that makes this record such a tasty listen. The septet is Patton Magee – Vocals, Harmonica, Guitars, Shaun Couture – Vocals, Guitars, Connor Mikita – Drums, Backing Vocals, Alec Castillo – Bass, Backing Vocals, Zachary Merrill – Keyboards, Piano, Backing Vocals, Austin Brose – Percussion, Backing Vocals, Jon “Catfish” Delorme – Pedal steel, Dobro who have been together for over twelve years now.

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Twelve years have passed since we heard from Howling Bells – a lifetime in pop music, let alone in the world. The band, having toured themselves into the ground, took a self-enforced break after the release of Heartstrings in 2014, and this marks their first music together since that decision. Singer Juanita Stein has been busy in the interim, releasing four well-received solo albums, and the reunion with brother Joel (guitar) and fellow founding member Glenn Moule (drums) appears to have been an easy one.
Life has intervened, of course, and the recent death of Juanita’s father has been a key event, along with her return to Melbourne. These things come together on the emotive heart of Strange Life, Melbourne being an honest and…

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The cover of Toni Geitani’s Wahj is, at first glance, an intimidating presence: all blacks and browns, the painting looks like a cave or a crater, the scene of some great but unknowable violence. But the closer you look, the more light you see, until the whole scene is luminous with bright whites and verdant greens. Wahj, which is Arabic for “radiance,” creates a similar effect, with glimmers of hope shining out in its dense, apocalyptic soundworld.
As an artist, Geitani is drawn to the aftermath of disaster, to what lies beyond the event itself. He was originally trained as a filmmaker, and his first mid-length film, The Disappearance of Goya (2018), is a reckoning with the Lebanese Civil War. He was born after the war ended, but lived with its effects; his hometown of Beirut still…

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For the front cover of his fifth solo album for Home Normal, Wil Bolton‘s opted for something a little more unsettling than the usual kind of bucolic imagery favoured by ambient practitioners. Shot by Bolton, the grainy photo shows a building structure on the left and on the right the upper part of a dome, its distinctive shape initially suggesting it could be an observatory. However, upon learning that the recording merges synthesizers (Buchla, Nord Wave) with “environmental sounds, radio waves, and found objects” collected by him along the Suffolk coast, the interpretation shifts as the locale is home to a nuclear power station, specifically the Sizewell B nuclear reactor. That one of the seven track titles is “Reactor Dome Haze” would seem to lend further…

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Contemporary composers working with just intonation tend to have an affinity for early music, when Pythagorean tuning was mainstream and before equal temperament became the standard. Léo Dupleix is no exception, and he takes the connection one step further, putting the harpsichord at the center of much of his music.
Round Sky is Dupleix’s latest, a close cousin of his 2024 release, Resonant Trees. Both albums place the composer’s harpsichord within a small chamber ensemble including flute, guitar, and in the case of Round Sky, double bass. (Resonant Trees called for clarinet and viola instead of bass). Dupleix also plays analogue synthesizer, a color that is particularly central to the longest piece on the new album, the nearly 20-minute…

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Back in the early nineties, when Kevin Shields and My Bloody Valentine came up with their Loveless album, they practically broke the back of Creation Records, which soon after went bankrupt. Yet, nobody at the time envisioned what kind of influence that album would have decades after its initial release.
Its ripple effects keep washing up on listeners to this day, and the latest proof comes in the form of Come Back Down, the new album by Nashville (yes, that Nashville) duo Total Wife. It is too easy to say that Luna Kupper and Ash Richter, who comprise Total Wife, are just ‘simple’ fans of MBV and all things that were good about the original shoegaze for two reasons.
First of all, following in the footsteps of…

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Bug Teeth’s debut full-length arrives softly, building and scrutinising loss down to its fine veins, even as it gazes upward to the skies.
With a title drawn from Robert Hooke’s 17th-century scientific text magnifying the minutiae of living forms, Micrographia zeroes in on the subtleties of grief, familial memory and the burden of loving someone who is gone.
At the heart of the album is the rupture of PJ Johnson’s life when their mother died suddenly in 2021 which left them unmoored and desperate to make sense of the absence. “Tapeworm” questions if her mother would prefer no children if she were to live her life over, “With time again would you give it up / A sacrifice / Would you give me up?” It’s a crippling place to begin.

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Backtracking a bit from previously issued volumes of the series, Musik Music Musique 1979: The Roots of Synth Pop functions as a sort of prequel, mapping out the blueprint of the new wave revolution of the ’80s, from synth-heavy post-punk and art rock to some of synth pop’s earliest chart-toppers. It’s not as if electronic instruments weren’t prominent in popular music before 1979, but synthesizers were clearly well on their way to being a defining characteristic of the musical landscape. The set starts with the Buggles’ “Technopop,” proposing a name for the music of the future — Kraftwerk would later give a song a similar title on 1986’s Electric Café, which originally had the working title Techno Pop as well, and decades later, a reissue retroactively bore…

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The music of David Moore’s Bing & Ruth has typically resembled cloud systems, ocean waves, swarming shoals of fish. In the spirit of compositions like Terry Riley’s In C and Steve Reich’s Music for 18 Musicians, each of his pieces stirs diminutive patterns into unfathomably vast forces. But over the long sweep of his career, Moore gives the impression of an artist steadily clearing away cobwebs, determined to get at the essence of something. There were 11 players on 2010’s City Lake, his post-classical ensemble’s breakout album, and then seven on 2014’s Tomorrow Was the Golden Age; by 2020’s somber Species, he had stripped his materials down to Farfisa organ, clarinet, and double bass. Moore recently dropped the Bing & Ruth alias for a duo…

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