Category: indie


John Wiese‘s seemingly endless discography includes harsh noise cut-ups as well as more haunting, nearly cinematic experimental works. His group Sissy Spacek (who, quite amusingly, are vastly more prolific as a recording act than their celebrity namesake) might be best known for their extremist take on grindcore, stuffing dozens of abrupt noise bursts onto 20-minute albums. However, the band also have numerous works which explore musique concrète and free improvisation, as well as large-ensemble performances of works composed by Wiese. In the past, Sissy Spacek recordings have included input from Aaron Dilloway, Kevin Drumm, Matmos, and members of the Los Angeles Free Music Society. Entrance, consisting of four…

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You might think you’re busy, but are you busy like Arnold de Boer of Zea? In addition to being the Ex’s mouthpiece for the past decade and a half, he’s been the singer, guitarist, songwriter, booker, driver, etc., of Zea for 31 years. Throughout that time, the project has continually morphed, operating as a one-man show, a stylistically chameleonic ensemble and a multi-continental, collaborative endeavor that often projects its messages in more than one tongue.
In Lichem Fol Beloften (“a body filled with promises”) is sung entirely in Frisian, the language spoken in de Boer’s northern Netherlands neck of the woods. He wrote some of the lyrics, taking others from poems translated into the dialect. If you get the CD or LP editions,…

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A band always keenly attuned to the nihilistic undercurrents of life in Hong Kong, David Boring has returned after a seven-year hiatus with their second album and a darker, harder, more machinic sound. Their 2017 debut, Unnatural Objects and Their Humans, was a ragged collage of delicate yet crushing post-punk poems driven live by the urgent, confrontational delivery of vocalist Janice Lau. It captures the band’s brash early period, which has morphed as Hong Kong has also fundamentally shifted in recent years, weathering political unrest, a pandemic, and economic pressures that reshaped daily life and the cultural landscape.
Liminal Beings and Their Echoes, released by Damnably and UN.TOMORROW, documents…

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We live in an age of multitudes. Our emotions today tilt from joy to horror to humour with the flick of a doom-scrolling finger. Likewise, the art of this era has started to reflect this boundaryless mania. See the multiverse trope in cinema and pop music’s embrace of darker themes and avant-garde producers. Recent cultural history could even be viewed as an arms race of increased emotional complexity; from modernist sincerity to postmodern scepticism to contemporary multiplicities.
These sorts of oscillating moods are something Clothesline from Hell (the solo project of Toronto multi-instrumentalist Adam LaFramboise) utilises with intuitive aplomb. The accessible but gently complex music he comes up with…

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Some albums take years to make. The Stone Roses famously took their sweet time over The Second Coming, while Guns N’ Roses made fans wait for over a decade before finally delivering Chinese Democracy. Tugboat Captain? They made Dog Tale in a week, mate – done and dusted in seven days, it’s a refreshing testament to creative brevity.
Recorded at South London studio Ctrl P – run by Sox and Josh from the band – there’s a pervading comfort to the material on Dog Tale. As time has gone on, Tugboat Captain have added baroque flourishes to their songwriting, and while the arrangements here testify to that, they equally refuse to be smothered by ad hoc additions.
As a result, it’s a beaming grin of a record, a witty series of quips, diversions, and…

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“Dodici,” the lead-off track and first single from Solo Sueno, is one of the most ebullient tracks of the new year. Beginning with a literal breath of excitement, the piece plunges into brilliant interplay between sax and electronics, representing the friendship between Cuneo, Italy’s Filippo Ansaldi & Simone Sims Longo.
After its initial burst, the music takes another literal breath before diving into a deeper pool of brass and beats. It’s a wonderful wake-up song, a celebratory introduction.
If there’s another track like this here, it’s “Curundu,” the second single. (These two would make a perfect 45!) The tempo-driven piece is swift to the point of being hyperactive, imitating club music without the techno beat.

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…The Deluxe Version expands the original 10-track album into an 18-track collection.
In Alan Moore’s all-encompassing three book epic Jerusalem he carefully and painstakingly depicts the multi-generational lives of the inhabitants of the mediaeval centre of Northampton known as The Boroughs. Through tracing their surreal, mundane, magickal, exhaustive, and, at times, harrowing existences, Moore posits the notion of ‘Eternalism’: a theory in which all events, past, present and future, occur simultaneously. Much as geographical spaces still exist without our presence, the same can also be said for these instances of time. For Mark Van Hoen, the music he created nearly thirty years ago is equally concurrent with his recent sonic efforts.

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If you had an uneasy feeling that 2025 would somehow be the year of Thee Headcoatees, then give yourself a hearty handshake – for surprisingly, ’tis true!
We can indirectly blame the passing of our dear departed Great Ribbon, Mr Don Craine, for instigating a regurgitation of Thee Headcoats back in 2022. Ostensibly booked to record a tribute EP as Thee Headcoats Sect – featuring Don’s fellow Downliner-in-Chief Keith Grant Evans – the chaps found they had a few extra hours to fill in the studio, so they figured they may as well record a new Headcoats album, too. And why not? This materialised, with minimum fuss, as Irregularis (The Great Hiatus) on Damaged Goods in 2023.
Come late 2024 and before you could…

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The reappearance of These Were The Earlies for its 21st-anniversary is a surprise. Although The Earlies‘ debut LP received a maximum-marks review from NME on its 2004 release – and widespread praise in general – it is not an album instantly shouting “cult item.” Nonetheless, as the reissue and a tie-in reformation of the band show, there is a residual affection.
Playing These Were The Earlies confirms why. From its opening seconds, it sets itself up as top-notch modern psychedelia, with references – some overt, some subtle – to The Beach Boys, Love and, more contemporaneously, Mercury Rev. A lyric with the words “Mother Mary” cannot have been written without knowing The Beatles would instantly spring to mind.

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Charlie Bruber started out slowly, building a name for himself in Minneapolis music circles (and elsewhere) primarily as a multi-instrumentalist and engineer. As is often the case, there is always an extra personal drive there to do your own music, in most cases as a singer-songwriter, whatever the results may be, for better or for worse.
Judging by Prized Burden, Bruber’s second solo outing and luckily for both him and all the listeners that venture into it, better is the direction he is moving in as a solo artist. No, Brugber is definitely not sticking to what is considered the ‘standard’ singer-songwriter formulas, although the album has that slow-building, often languorous feel.
The difference lies in the fact that Bruber has the ability to build his songs…

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Imagine you’re in a watering hole somewhere, the English Midlands or the U.S. Midwest. The bar is in a strip mall, but perfectly fine. Perhaps it’s called the Trysting Place or a name with the word ‘lounge’. Maybe you’re alone nursing an old-fashioned, or you’re with somebody you want to get to know a little better.
In the background, there’s a group playing. You can hear the lead guitar. It has a jazz tinge, a little bossa nova, maybe a hint of blues. There’s a real steady bass underneath the lead. And a drummer who is right there, he’s present, an important part of the sound, but you haven’t paid a lot of attention. Then the guitarist starts singing. He sounds a little like Roy Orbison mixed with Jon Hendrix. You go back to your drink,…

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…The Australian singer-songwriter Georgia Knight‘s debut record, Beanpole, is a dark, introspective meditation on desire — the Lacanian kind: desire rooted in the Other. Always is, isn’t? In some sense, we’re actors waiting to be seen and chosen, as if by a film director (where are you, Antonioni? Dead. Oh.). You won’t be hearing Knight drawing these conclusions — as the narrator, in the throes of an all-consuming desire, can barely think, let alone think critically.
Desire is about escaping yourself; this is why, on Beanpole, you will hear of a character wanting to be a “rockerbilly”, and, although it might seem silly, transcendence is at the heart of desire and, thus, the record.
Recorded between Knight and Andrew “Idge”…

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Endless Cold, Endless Darkness, the latest effort from experimental ambient artist Ugasanie, is centered on deep, rich layers of drones evoking windswept and snow-covered landscapes (a repeating theme across Ugasanie’s releases). Even when played at a modest volume, the low frequencies emanating from your speakers resonate with desks, chairs, walls, and so on to an immersive and suffocating effect.
Accompanying these undertones are additional sonic elements – either from field recordings or synthetic processing – that crackle, skitter, and echo. Animal noises, wordless vocalizations, and ritual percussion add to the haunting, pneumatic atmosphere. For the most part, the pieces are low-density ambient, combining…

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Nobody knows who Daguerreotypes’ James Samimi Farr is, and judging from his expansive and warm folk debut, This Is My Way to Tell You That Everything Is Real and Is Happening Now, this knowledge has eaten away at him quietly for the better part of a decade. After abandoning his dreams of a music career in his early 20s, Farr has returned to these dreams, or perhaps to the grave where he believes they are buried. The album’s 20 songs are the resigned and rueful sound of him making amends with his obscurity, and his larger place in the universe. “If this is all there is, and we are all alone/My voice can go no higher,” he sings on “Born a Baritone.”
As a writer, Farr belongs to a long and storied line of married men wrangling poetry from…

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In the realm of indie folk music, the strength and veracity of the work springs from the sincerity in which it is sung. All of which may be worth bearing in mind when it comes to a songwriter’s jaundiced perspective on their surroundings. In terms of Wormy’s Shark River, there is an emotive in this particular record that remains unfulfilled by the close of the work.
Judging it on a commercial level, there is only one pop standout. “27 Days,” all twangy guitars and longing, dots the work with tales of British tourists undertaking the voyages that have brought them to certain fulfillment. If only the rest of the record had made similarly good use of this breezy charm, it could make an impression with the 14-year-old market, but Brooklyn…

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In 1957, nearly seven decades before Babau’s new “post-exoticism” album The Sludge of the Land, bandleader Martin Denny released an album called Exotica. At a time when the overthrow of the Hawaiian Kingdom was still in living memory, the NYC-born composer and his band were under contract with “tiki culture” maven Don the Beachcomber at a Hilton hotel in Honolulu, where they’d developed a style of easy-listening music that incorporated animal sounds, Latin pop influences, and a mish-mash of traditional instruments like shamisen and gamelan from Asia and Polynesia. The new sound became a global fad, even in the locales that exotica artists fantasized about. The Japanese band Yellow Magic Orchestra, who pioneered the use of…

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1. Pullman – Kabul
2. Melody’s Echo Chamber – The House That…
3. Dry Cleaning – Let Me Grow and You’ll See…
4. Courtney Marie Andrews – Little Picture of …
5. Imarhan – Azaman Amoutay
6. Daniel Knox – Middle Names
7. Juliana Hatfield – My House Is Not My…
8. Wednesday Knudsen – Paillettes
9. Nick Cave & The Bad Seeds – Joy (Live)
10. Langhorne Slim – On Fire
11. Sleaford Mods – The Good Life
12. The Damned – See Emily Play
13. Jana Horn – All In Bet
14. Julianna Barwick & Mary Lattimore – Melted…
15. Kahil El’Zabar’s Ethnic Heritage Ensemble – Summertime

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It’s in the nature of Jana Horn’s music to creep up on you. Just when you think you’re dealing with some pretty straightforward singer-songwriter fare, she’ll slip in a reminder that something more complex and more interesting is going on just beneath the surface. When it seems like melodic prettiness is the order of the day, a lyrical barb will lodge itself under your skin, or a brief passage of uncanny avant-pop will blindside you. Perhaps this is why her music is so difficult to pin down: her second album, The Window is a Dream (2023), saw her singing compared to Greta Kline, Nick Drake and Broadcast’s Trish Keenan and her sound described as country, jazz and post-folk. All of that is true, but none of it is quite sufficient, because Horn occupies an in-between…

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