Vast, the fourth studio album from Vermont’s Wet Tuna to make its way to vinyl and first since 2022, presents a wide-screen slab of irreverent, playful psychedelia that could have only come from the hands / brain / interstellar groove telescope of Matt “MV” Valentine.
Over the course of ten tracks you are hit with slice after slice of pleasantly disorienting, secretly whip-tight rural funk that is truly out of time. One tune in you start to feel gravity lighten your grip to the earth. By track three that lightness gives way to a distinct “when was this recorded?” vibe. 1960? 2170? 2280? By jam ten you’ve been so soaked in the aura that you no longer care as you know that you are here now. Where else have you ever been? Or wanted to be?
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In a musical landscape where the ‘indie pop’ label frequently masks a lack of melodic ambition and a reliance on tired tropes and recycled aesthetics, The Would-be-goods remind us that the genre can and should be a vehicle for high art. Their latest offering, 
Glasgow’s Helicon and Los Angeles-based producer and DJ Al Lover have joined forces on a bold new collaborative album, 
Swedish high energy rockers The Hellacopters have been celebrating their 30th anniversary recently and after releasing something new – the much-lauded “Overdriver” album on January 31, 2025, which reached No. 1 in the Swedish charts for the second time in the group’s career – it is time to offer their dedicated fanbase something truly nostalgic.
On their 2013 debut and 2015’s Then Came the Morning, 
Billed as the legendary, now-octogenarian singer and songwriter’s 30th album, 
John Beltran is Detroit techno’s foremost daydreamer. His first albums under his own name, 1995’s Earth & Nightfall and 1996’s cult classic Ten Days of Blue, were blissful-sounding ambient techno records that took the melodic sensibilities of the local scene to their cosmic extremes. Every beep and blip was in harmony with a lush string line, the rhythms less like breakbeats or programmed drums than trance-inducing hammered dulcimers. By 1997’s The Cry, the first album released under his 
Dominik Felsmann and Patrick Tiley have made hard trance records together under a handful of different names since 2003. For their eponymous project, they’ve shifted to a drum-free, cinematic form of music with more of a neo-classical and progressive electronic inspiration, as well as a retro-futuristic synthwave sheen. After issuing their debut album as 
“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 
In the world of electronic pop, 
Back with more of their compelling juxtaposition of riff-fueled rock and writer/musician Elizabeth Nelson’s hyper-aware, articulate, sometimes esoteric conversational patter, 
New Zealand duo 
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 
Although they dropped the Cascading Moms moniker from the release this time around, Hungry Animal returns the 
On their previous album, 2022’s Solidaritine, 
Tenor saxophonist Melissa Aldana is from Santiago, Chile, where she grew up as the daughter of a professional saxophone player.
Through their first three albums,