Over the past several years, Maris O’Tierney established herself as an engaging, evocative songwriter and musician as one half of Maeve & Quinn, the duo she formed with her twin sister, Bryce. The pair released exquisite records such as the EPs Something Overheard, Something Overhead (2018) and Star-Crossed (2021), as well as 2023’s full-length release, Another Door, drawing inspiration from multiple points of origin: where they grew up (Alaska), the country of their heritage (Ireland), and their current hometown (Chicago). While Maris has stepped out with her first solo album under the moniker Park Hills Circle, she still retains the sensibilities of that duo, along with additional sonic layers that give this debut a warm uniqueness.
Category: pop
Listening to abracadabra’s peel away EP is a little bit like scrolling through Instagram reels, minus the crushing ennui. The beats are fidgety and liable to change. There’s a sense of something whizzing and spooling. A new vocal style might emerge, or a bonkers effect could be layered over something else for a few seconds. Sometimes, in that time-honored 1960s tradition, abracadabra might just use a weird sound — a train whistle, a dub siren — only for it never to crop up in the song again. And why not? Abracadabra build songs like Kevin McCallister builds booby traps: intricate feats of imagination rigged with surprises.
Abracadabra are Hannah Skelton (vocals, synthesizers) and Chris Niles (bass, synthesizers). Although they’ve been active…
These days, Alfie Agnew is a Maths professor at California State University Fullerton. Back in the 1980s, however, he was singer and guitarist with US punks the Adolescents, as well as DI along with Sean Elliot. However, while academia might provide a more regular income than playing music, it clearly isn’t anything like as much fun. So, for the last decade, the pair of them have been scratching that itch in their side hustle, Professor and the Madman, along with Rat Scabies and Paul Gray of the Damned.
Dreamworld is far from a group of punk veterans revisiting old glories though. In fact, its inspirations reach far further back than that. Indeed, its cover art, which takes a significant cue from the Beatles’ Revolver gives more than…
Two of Britain’s most exciting folk musicians, both of Hebridean heritage, are behind Donn/Dubh (Black/Brown), an album inspired by Saltair na Rann, a 10th-century Celtic collection of cantos in which sacred history is foretold, and winds are given colours. Angeline Morrison and Arun Sood expand its spectrum of northerly and westerly shades, soldering together traditional Gaelic texts and tunes with distortion, drone, dream-pop and post-rock.
The pair have the chops for such a project. Morrison, co-founder of the Black British Folk Collective, has brilliantly brought forgotten Black histories into the folk canon for years, including on 2022’s The Sorrow Songs. That same year, Sood’s Searching Erskine used sonic collage…
Japanese band maya ongaku’s second album Nothing Space Music unfolds as a quietly textural journey, balancing stillness with subtle movement to create an atmosphere that feels intimate. Opening track ‘Vanishing Waves’ sets the tone immediately. Metallic and silvery synths interweave with acoustic guitar and gentle piano while understated vocals sit in unison. The song is reminiscent of ’70s Japanese rock bands like Happy End, with a touch of psychedelia in the spacious arrangement.
‘Thinkingscape’ breaks the haziness with a foreboding string opening, but the tension rapidly resolves into something more circular and grounded than the previous tracks. It’s the most structurally distinct track on the album,…
In the 1970s, The Hollywood Stars were a band that was supposed to hit it big but didn’t quite connect with the masses, thanks to a variety of record company foul-ups and the wrong-headed production of their self-titled 1977 debut album. The band was lucky enough to have a small but committed cult following who kept the tales of their powerful live shows alive, and a pair of archival releases — 2013’s Shine Like a Radio: The Great Lost 1974 Album and 2019’s Sound City — allowed fans of ’70s glam and power pop to at long last hear how they were meant to sound. The albums generated enough buzz that the group reunited, and 2026’s Hey! L.A.! is their second studio LP since returning to duty. As the title suggests, Hey! L.A.! is a loose concept album,…
With his playful, nature-bound alter ego, Art Feynman, Luke Temple has so far offered an unpredictable, experimental patchwork of folktronica, Krautrock inspirations, global rhythms, Talking Heads-inspired art pop / rock, environmental field recordings, themes relating to the collective consciousness, and so on.
His fourth Art Feynman album, Orphans, surprises again with a 13-track set of mostly instrumentals. While intended as background music, this is Luke Temple after all, and the songs nevertheless hold an allure all their own. The solo LP starts off with a pair of simple, sparse recordings made up of understated yet bittersweet keyboard melodies over sustained chords, and components like time-keeping bass, nature sounds,…
Avon’s lesser-hailed, glam ‘80s synth-pop and new wave movement is spotlighted in-depth via 20 songs compiled by studio engineer Dave Massey, who smartly portrays the breadth and quality of an ‘80s blindspot.
The Bristol & Bath Blitz Club Meets Art School Sound – 80’s Explosion traces the reverberating influence of Rusty Egan and co.’s new wave crucible, The Blitz Club, along the M4 leyline, where it met Avon art school kids advancing from punk and funk into a new decade. Egan’s signature DJ brew – e.g. Kraftwerk to Visage, Burundi Black to Bowie, Japan and Grace Jones – would spark myriad emulators who were also mirroring the chops of Duran Duran (sons of the Brum club scene an hour north) and the likes of Martyn Ware…
In The Hero with a Thousand Faces, American mythologist Joseph Campbell uses tales from antiquity to chart the “Hero’s Journey,” the cyclical sequence of departure, initiation, and return which serves as the basis for mythic narrative. While this may ring true in the world of fables, practically speaking, I’ve always found personal journeys to resemble curves rather than circles; soft arcs of change that bend imperceptibly, but eventually, toward resolution. Oakland recording artist sachi’s mirror appears to agree. On her debut album, Talking in a Different Way, she opens a portal to a celestial plane of orchestral, fourth-world trip-hop that embraces patience as a means of evocation and wandering as a way to move on.
Sachi’s mirror is the alias of Shaina Pan,…
What does it look like when the family business is music? In the case of The Family — a kind of “supergroup” made up of singer-songwriter Dylan LeBlanc and his father James LeBlanc, stepmother Angela Hacker, and stepbrother Bay Simpson — it’s a little messy. On the band’s first album, Delusions of Grandeur, they’re unpacking some of the baggage that splintered them apart and eventually brought them back together to FAME Studios in the LeBlancs’ native Muscle Shoals, Alabama in 2020 to record it. Released by Dylan LeBlanc’s brother-in-law’s Big Black Cow Records, Delusions of Grandeur is a true family affair, one that feels effortless in the ways it shines a light on each member’s individual artistry. LeBlanc’s woozy mysticism, his father’s easy grooves, Hacker’s…
Music ebbs and flows, as MISSIO are only too aware. As a duo, Matthew Brue and David Butler have completed six records together, with Love & Heartbreak being the richest in form and purpose. This project, as an entity, is rich with references to mortality, degradation, and inner turmoil. In terms of it being a sonic experience, Love & Heartbreak is strikingly different from previous MISSIO records; a visceral rollercoaster burning with energy on all sides.
“I will make you beg for self-deprecation,” the singer shouts on “Self Deprecation”, sharp keyboards rattling behind the glass-cut vocal. The amorous affection in “You Are My Love” is alluded to in its melodic counterpoints, a Wagnerian backdrop. The term “tender” is…
Highsigh like to stretch definitions. In the studio, they’re about pushing the boundaries of what we might call pop; on paper, they test the meaning of ‘supergroup’. There’s a whole heap of musicians mucking in here on debut album Once Bend, but primarily they comprise Ro Lundberg of freeform New Yorkers JOBS, John Dieterich of Pitchfork art-rockers Deerhoof and Matt Mehlan of whatever-works collective Skeletons (and any number of jazz-adjacent experimental outfits he happens upon). It’s a dense mix of exploratory musical backgrounds and usually sounds like it too.
Part-time percussionists all, the three of them are fixated on rhythm, piling on drum patterns and chewy electronic thumps. They whip up a panic attack on ‘Words We Choose’…
In addition to being one-half of synth pop legends Erasure for over 40 years and engaging in numerous other solo and collaborative projects, Vince Clarke has racked up a sizeable discography of remixes. Remix/Remodel: The Vince Clarke Remixes selects 26 of them, though that’s nowhere close to complete.
The set begins with the first remix he ever did back in the late ’80s, a house-inspired version of Happy Mondays’ “Wrote for Luck” which stripped out the guitars and placed a thumping kick drum up front. The remix ended up being a bigger hit than the original album version, and helped define the alternative dance sound of the Madchester scene. Aside from this remix, however, the collection skips ahead two decades (leaving…
…6CD special edition featuring unheard material, including early demos, alternate takes, and unreleased songs.
There’s a live recording on this boxset that seems to perfectly embody the challenges faced by Paul Weller after he split up The Jam. He and his new band, The Style Council, are playing the Goldiggers in Chippenham, Wiltshire, in March 1984, showcasing tracks from the upcoming Cafe Bleu album to an increasingly restless audience.
“I need absolute quiet for this number,” Weller insists, before a bossa nova called “The Whole Point of No Return”. The crowd start wolf-whistling as Dee C Lee comes out to sing “Paris Match” and, as the band perform low-key acoustic songs inspired, variously, by Antonio Carlos Jobim, …
Ed Askew was a New York artist, poet, songwriter and genuine underground legend. Having first broken through with his self-titled album in 1968 (subsequently known as Ask the Unicorn), he made ripples in the Woodstock generation, and ploughed a furrow similar to the likes of The Incredible String Band or Vashti Bunyan on this side of the Atlantic. However, this did not translate into commercial success, and he soon settled into a life of painting, writing, and teaching art. He never stopped making music, although this was generally of the home recording variety, without any particular label interest.
In 2002, a re-release of his lost second album, Little Eyes, gradually started to garner some attention, and eventually led to 2013’s…
…new 50th anniversary 2CD expansion of The Flamin’ Groovies’ 1976 Sire debut is built around a new remaster of the original album from the analog tapes. The bonus disc adds previously unreleased outtakes and alternates as well as the existing audio from a Roxy show in ’76.
A lot had happened with the Flamin’ Groovies in the nearly five years that separated the epochal Teenage Head album and their return to American record racks with Shake Some Action. The Groovies lost their record deal with Buddah; lead singer Roy Loney had quit the band, leaving Cyril Jordan as the uncontested leader; and they had spent a lot of time in Europe, building a significant following in the United Kingdom. As a result, the Flamin’ Groovies on Shake Some Action…
