Naive Melodies is a bold and visionary tribute to the music of Talking Heads, reinterpreted through the lens of Black musical innovation. Curated by Drew McFadden – the creative mind behind BBE’s acclaimed Modern Love (David Bowie tribute album) – this new collection dives deep into the Afro-diasporic rhythms and experimental soul roots that helped shape Talking Heads’ unmistakable New Wave sound. Inspired by artists like Fela Kuti, Parliament, and Al Green – whose influences loomed large in the band’s rhythmic DNA – Naive Melodies shines a light on the Black music traditions that underpinned their artistry.
Far from a conventional tribute, Naive Melodies reframes the band’s catalog through the voices and visions of a new generation…
Category: indie
There is a certain solace to be found in minimal music-a contemplative joy that emerges through sustained repetition and subtle variation. Solo Three, the slyly absorbing new album from Michigan-based composer and multi-instrumentalist Erik Hall, embodies that hypnotic charge while boldly reimagining a distinct selection of contemporary classical works.
Hall’s affinity for minimalism began decades ago, when as a jazz-studies drummer at the University of Michigan he first encountered Steve Reich’s Music for 18 Musicians. The piece altered his trajectory completely. Years later, amid a creative lull, he revisited that formative work by attempting a solo reconstruction. Working alone in his home studio, Hall painstakingly recreated…
The last time we heard from The Format, the pop duo of Nate Ruess and Sam Means, the world was a much different place. The band’s previous LP arrived 20 years ago in the summer of 2006, and if anyone ever asks what that summer sounded like, The Format’s Dog Problems is a good place to start. Their youthful energy, fueled by curiosity and anxiety, was drenched in danceable melodies and sun-blenched instrumentation, creating an infectious LP of pop anthems. The bright aesthetic of the LP defines a sound that has been lost in time, carefree pop that wanders listlessly through life waiting for the next opportunity to drop its shoulders. That relaxing time, though, is far in the rearview, and pop music has changed drastically.
Much like the world around them, Ruess and…
Like a sausage supper or a good slug of whisky, The Just Joans will keep you warm during these dark winter months. One of Scotland’s greatest indie bands, they’ve been around for two decades, and their latest LP mixes their trademark sardonic humour with a new year music cocktail of Blur, The Kinks, Elastica and The Lightning Seeds.
Led by siblings David and Katie Pope, The Just Joans’ latest album, Romantic Visions of Scotland, is about “mundane failings, bitter regrets and missed opportunities”, perfect for those January blues. There are great titles like ‘Strictly Presbyterian’, ‘Here Come the Rugby Boys’ and ‘Drinking On a Weeknight’ and whipsmart lyrics like ‘Back On the Meds’ ‘I started crying in the chip shop / Do you want salt and vinegar?’
By the end of 1980, after 10 years waiting for the world to catch up with them, things were looking bleak for Suicide. The pioneering New York electronic project of keyboardist Martin Rev and vocalist Alan Vega had released a sinister self-titled debut in 1977; the album was met by hostility from crowds and mocked as “puerile” by Rolling Stone. Playing on tour with Elvis Costello, the Clash, and the Cars, they’d been pelted with shoes, coins, and even knives. ZE Records had backed May 1980’s glitzier follow-up, Suicide: Alan Vega and Martin Rev, putting the duo in the expensive Power Station studios with the Cars’ Ric Ocasek on production. But the label had hoped for a dance-pop record, telling Ocasek to think of Donna Summer’s “I Feel Love” for reference, and Vega felt it…
A bold statement for a new year. The seventh studio album by Australian band The Paper Kites, If You Go There, I Hope You Find It, is already, even as 2026 takes its first baby steps, an album-of-the-year contender. The majority of the album was written at a friend’s farm located within the Yarra Valley in Melbourne, and the wide-open spaces and mountain views have clearly served as an inspiration to the band. ‘If You Go There, I Hope You Find It’ is a phrase co-founder Christina Lacy wrote on a fogged-up bus window one morning, which became a quiet mission statement — a reflection on distance, devotion and the quiet hope that the people you love will find what they’re looking for, even if you can’t follow them where they go. Musically, it’s the five band…
In their infancy, Vancouver trio cub embraced the term cuddlecore — coined by friend and Destroyer guitarist Nicolas Bragg — as a cheeky tagline for their ramshackle fusion of ‘60s bubblegum pop and three-chord punk rock. It was an apt descriptor; their 1993 debut record Betti-Cola had garnered a cult following on North American college campuses in part because of its Archie Comics-inspired cover art, riddled with sentient teddy bears, rainbow Popsicles, and lucky pennies.
Where cub’s visuals exuded cuteness, their songwriting possessed a campy bite. Like their twee-punk contemporaries in Heavenly and Tiger Trap, cub’s best songs capture the emotional confusion and lost innocence of adolescence, stories of teenage runaways and…
The opening track of Buletten & Blumen, Siriusmo’s fourth album, is multi-faceted. ‘That Could Funktion As a Song’ begins with the sound of a computer logging on. A metronome starts. Then a stranger mutters “Hmmm… cool. So that could function as a song… I guess.” The uncanny voice has all the emotional detachment of a scripted call centre helpline or, more chillingly, an AI. “Ok, ok,” says that voice again “I like instruments,” but the intonation is off. It builds symphonically before fading out into the clatter of computer keys being punched. Herbie Hancock meets The Muppets’ Mah Na Mah Na, as the track lighthouses a sea of undulating synths. While the satirical-cum-philosophical, broken haiku of the spoken word sections makes the listener…
So far, Atlanta-based singer songwriter Diane Coll has been making music under the motto “therapy through music.” Quite a few songwriters have a similar idea, for some it works, for others, not so much. It is a somewhat lofty concept, and you really have to have clearly set vision and ideas to make it work. Both the music and lyrics have to have a detailed balance and ideas to sound plausible to listeners. For her previous four albums, it was more a hit than miss concept for Coll, and now, for Strangely in Tune, her fifth album, that therapeutic concept has its full fruition for Coll, both musically and lyrically.
Coll has that touch in music and lyrics that utilises more gentle, ethereal elements not strictly defined by any specific genre, covering…
It’s a great time to be an indie band making anything that sounds post-punk. Dry Cleaning and Black Country, New Road have outlasted their initial hype cycles and begun chugging toward longevity. Geese have invited a stunning amount of breathless adulation from prestige media who were indifferent to indie rock five seconds ago. Poptimism’s cultural capture is over! Everyone grab a delay pedal and arpeggiate a sus chord! People who watch Saturday Night Live will know who you are!
It’s funny, then, to consider “Careers in Acting,” the opening salvo of A-Rhythm Absolute. On it, Sunday Mourners frontman Quinn Robinson disavows the trappings of success, swearing off an acting career and internet fame and instead promising to “make it big in the parking lot.”
It’s not foregrounded, but as Strangest Feeling beds in after repeated listens it becomes clear that one of its core traits is The Pixies-originated quiet-loud, soft-hard dynamic which oozed into grunge. The second LP from the Irish-born, Sydney dwelling Bonnie Stewart isn’t a grunge album, but it has a kindred sensibility. Take third track “Bittersweet”. It has a My Bloody Valentine / Pale Saints haziness but as a verse gives way to the chorus – boom, an explosion. The voice is folky, lilting, the melodies honeyed. Yet Stewart likes offsetting this with flare-ups indicating that – presumably – she likes to give listeners a surprise.
Some of Strangest Feeling is less structured, more abstract. Opening track “Dragon” is diffuse, goth-ish, evoking the percussive aspects…
Knowing when to stop is a much-undervalued attribute, particularly in the music industry. So rare is the artist who calls it a day – and doesn’t renege on the decision – they are exceptions that prove the rule. Syd Barrett, Mark Hollis, Meg White… Even rarer is knowing how to stop – David Bowie of course set the benchmark for career-concluding swan songs with 2016’s Blackstar.
But fellow New York resident JG Thirlwell has made a similar creative choice with the release of Halt, his tenth album under the Foetus nom de plume – satellite, remix and live releases notwithstanding. The record brings to a close a project that spans 45 years of exceptional creativity, and at times controversy.
There’s an apocryphal story about Thirlwell…
Every field recording is a virtual reality. Joshua Bonnetta understands that precept: The Canadian artist eschews “authentic” reproductions of any space, openly embracing subjectivity. “I abstract the sounds,” Bonnetta has said of his 2016 album Lago, “so that they would align more with my experience and the feeling of what I got from that place.” A personal perspective comes to the fore in his experimental documentaries, too. El Mar La Mar, his 2017 collaboration with director J.P. Sniadecki, placed oral histories alongside audio of the Sonoran desert, painting the U.S.-Mexico border as a landscape of trauma and bureaucratic racism. In 2020’s The Two Sights, he portrayed the epistemological reality of clairvoyant townspeople in the Outer Hebrides by eschewing…
Broadly speaking, shredders are the pro wrestlers of music, trafficking in overwrought drama but devoid of soul, the realm of finger-tappers, fretboard lubricators, and those prone to viewing music as a competitive brawl.
As such, the axe-slinger of conscience steers clear of shredding behavior, albeit every-so-often dexterously running the neck to tip listeners off that, you know, they “really know how to play.” But for the typical avant-string consumer, shredding is beyond the pale.
Which brings us to Cyrus Pireh‘s new Palilalia release Thank You, Guitar, his latest stab at “transcendental shred electric guitar music.”
…this album has many surprises to the somewhat untuned ear. ‘We Can’t All Be Alive at the Same…
Few musicians have scaled the progressive rock battlements with such elegance as Jo Quail. From multiple collaborations with post-rock and metal bands – MONO to Enslaved and beyond – to her own steady flow of extraordinary, genre-melting releases, the cellist is acknowledged as an essential player in the creative underground.
Part of Quail’s charm is that her music is pointedly alive: a never-ending work-in-progress that she returns to in performance, feeding off the tunes, tones and spontaneous ideas that appear to magically coalesce in her songs.
This is particularly prominent on Notan, which features a brand-new version of ‘Rex’, a song originally found on her solo debut From the Sea. In its earlier form, ‘Rex’ was dazzling but…
The Damned return with a personal and celebratory record, Not Like Everybody Else, a tribute to the band’s late guitarist Brian James, who passed away in March 2025.
The album includes 10 brand new recordings of covers by some of the artists that influenced Brian on his musical journey and inspired the rest of the band. Kicking off with R. Dean Taylor’s “Ghost In My House” and moving through classics like Pink Floyd’s “See Emily Play” and The Animals’ “When I Was Young”.
The album closes with “The Last Time,” a moving track featuring Brian James himself, pieced together from original live performances and remixed for this release, cementing the record as both a tribute and a farewell.
On A Healthy Earth, Brooklyn slowcore outfit Peaer’s 2019 breakout album, frontman Peter Katz sang songs about the present: being stuck in it, trying to figure it out and even wondering what his might be like across the multiverse.
Nearly seven years later, the trio is back with a new, more polished set of ponderings. Rather than searching across parallel worlds for alternatives to the crushing weight of now, though, Katz scans his own timeline. The titular Doppelgänger is not some interdimensional Peter Katz. It’s the very real past version of himself, and the (hopefully) real future one.
Songs like “No More Today” mark this shift, in which Katz rattles off the vices he plans on ditching. They get increasingly absurd,…
Six years after 1987’s celebrated Wings of Desire, German director Wim Wenders released Faraway, So Close!, an examination of the differences between the angel figures and humans inhabiting Berlin and the myriad social and political factions within the newly unified city. A sequel of sorts to 2023’s Summer Chronicles, the similarly titled second collaboration by David Cordero and Rhucle references both the pronounced physical distance between the ambient producers’ respective home bases in Cádiz and Tokyo but also how musically connected the two feel when collaborating. By sending each other tracks and adding to them in their separate studios, the two have developed a file-sharing methodology that for them functions smoothly. As research on social…
