‘Leaving the Flock’ is consequently a remarkably assured act of reinvention. Its warmth never becomes sentimental, its abstraction never loses its human center, and its melancholy is tempered by an unmistakable affection for imperfect things.
Hitchcock has made music about memory without falling into nostalgia’s usual habits. He doesn’t try to recreate a decade, pile on retro signals, or ask you to share his past in order to follow along. What he explores instead is the odd sensation of remembering something you can’t get back in one piece.
The record won’t pick a side between ruin and beauty, and that’s its staying power. Both fit in the same frame without canceling each other out. Pursel finds a way to talk about decay without sentimentality or despair. He lets the sounds he creates weather, smear, fracture, and wander off, then pays close attention to what’s still there.
The remasters preserve Takahashi’s precision, the remixes show how far it travels, and together they make a graceful case for minimal electronic music as a living practice: quiet but not passive, repetitive but not static, spacious but never empty.
After 28 years, electro-industrial veterans Alien Faktor return with “Hanging by a Threat,” a furious, bass-heavy single that pairs punk aggression and distorted electronics with the irresistible pulse of industrial dance music.
Delerium and Magic Wands bring the hazy warmth of psychedelic indie into a beautifully measured electronic arrangement on “Dream Palace,” a hypnotic collaboration whose unhurried movement and luminous, surreal video capture the sensation of drifting through a dream.
Twenty years after their debut, Colorado’s A Shoreline Dream return with “Waiting,” a beautifully immersive album of hazy psychedelia, reverberating guitars, acoustic tenderness, and distortion that can be as exhilarating as it is entrancing.
Erik Rabasca’s “Oh Domination!” addresses the frustration of trying to get by in a society divided by technology and disparities in wealth.
Universal expands the story told by its recent Supertramp reissue series by including the first two solo releases by departed co-frontman Roger Hodgson. The new vinyl pressings benefit from half-speed mastering.
Beauty In Chaos keep changing voices, textures and emotional temperatures across “Quiet Place,” with the album reaching its highest points when singer and arrangement become impossible to separate.
Jimi on a hot night, igniting the stage.
MatAre is an Atlanta-based solo artist blending post-punk and new wave with the atmospheric textures of dream pop and shoegaze
The Muster Point Project is the creation of Kevin Franco, a multi-instrumentalist singer/songwriter who splits his time between Calgary, Canada and Santiago, Chile.
Cable Street Riot is an anonymous solo project from Los Angeles, written, produced, mixed and sung by one person.
Missing Times is a powerful and varied ride, made by master musicians who insist on direct emotional communication as much as technical accomplishment.
The Pumphouse of Broken Dreams is the follow-up to the critically acclaimed ‘Psychedelic Soul & Trash Vol.3’ from the Hertfordshire-based dream pop band ‘Legends of the Seven Golden Vampires’.
The Clean Crime Scene is an American recording project formed by John Simek (Sparks Fly from a Kiss, The Venus Explosion).
Then Comes Silence turn “Bye Bye Land” into a love song delivered as a reprimand, where gratitude for someone still being here carries the anger and fear of nearly losing them.
Jack’s Maze turn “The Edge” into an unfinished conversation with the people no longer there, confronting the limit between recovering lost music and recovering the lives that once surrounded it.
Raised On Candy make “Red M&M” difficult to settle into at first and strangely hard to leave, as a scraping guitar sound grows heavier without ever becoming easier on the ear.
Harry Stafford and Marco Butcher let the guitar carry the deepest feeling on “Time Always Knows,” turning lost love into something solemn, reverberant and strangely beautiful.
Nineteen years after forming in Manchester, Caulbearers finally arrive at their debut album with twenty four musicians and ten songs that keep changing temperature, pace and emotional colour without losing the groove beneath them.
Martin Saint revisits a song first recorded with Citylake in 2017, returning to “Endless Bridge” nearly a decade later with a different life behind him and a new understanding of what it means to let something go.
I Ya Toyah’s “White Walls” looks closely at the strange distance between being visible and actually being known, turning private distress into an unusually direct plea for recognition.
Nathaniel Paul is an American indie singer-songwriter, multi-instrumentalist, and producer whose music explores the delicate intersection of love, loss, and the human experience.
Originally from the peaceful city of Suzhou in China and now based in London, YUNA is a musician, multimedia artist and event organiser whose practice is driven by curiosity, play and a desire to make things happen.
Founded by vocalist and multi-instrumentalist Áron Siegler, The Pixel Rain emerged from Southeast London’s underground scene with a self-titled debut EP in 2023.
Founded in Montreal in October 2021 by Philip Faith with Pat Gaudette, and joined soon afterwards by Michael K. Rien, Sexsomnia place two bass guitars at the melodic forefront of their sound, drawing on the traditions of early post-punk and proto-goth.
Down Silver Streets is a collection of songs by Nikki Sudden, Epic Soundtracks and Dave Kusworth, recorded by three musicians who played extensively with Nikki and Dave in the 90s and 2000s:
New York-based indie rock band The Goodbye Radio return with “Late To It,” a raw, emotionally resonant new single from their forthcoming album Photographic Medley, currently in the works.
Gathering some friends and anchoring the tunes with longtime compatriot Chad Taylor on drums, Ribot kicks out the jams while keeping his mouth shut.
Emma Rae is a rising artist from Stamford, CT, whose authentic songwriting and raw emotional delivery are quickly capturing attention across the music industry.
Owen Young grew up in Southern Ontario. He studied fine arts at UCLA and law at the University of Toronto. When he’s not walking the land or driving back roads, he writes in his home studio.
In 2025 Catchings collaborated with two producers—Ruslan Sirota and Tomo Nakayama—to create his debut album Off-Ramp.
Awake & Dreaming have released their debut album, Inevitable.
Joan As Police Woman returns to “We Don’t Own It” twenty years later, giving the song more space, more ache, and a strange kind of comfort without asking its grief to resolve.
Ecce Shnak’s “Own’d Thyself” turns two and a half minutes into one of the band’s most complete releases yet, layering bright momentum, beautifully integrated vocals, and sharp humour into a deceptively simple shape.
New Jersey indie rock five-piece Quality Living will release their third album, Glacier.
Originally released in 1998 and on vinyl for the first time, Rites finds the saxophonist and composer exploring electronica, taking on synthesizers, samples, and percussion alongside his usual horn duties.
UK-based songstress Laura Musgrave has released her new EP, The Longest Time.
Drawing on themes of alienation, belonging and the experience of feeling like a stranger in a strange land, Xeno is the debut album from Charlotte, North Carolina, indie-electronic artist Midniter.
For an album built from loops and jams and a cat’s inspiration, that is no small thing. ‘Common Primitives’ asks very little and gives a great deal. An album expected to be playing long after the autumn has gone cold.
The band consistently chooses atmosphere over drama and that discipline is their strength. Nothing here overstays, nothing shouts for attention, and the interplay among the four musicians leaves room for natural chemistry to surface. For a debut, ‘Just For A Goodbye’ sounds remarkably settled in its own skin.
More than two decades on, ‘The Dream of a Modern Day’ still sounds like hope with good posture. It believes in the future without being naive about it, and it asks only that listeners stand still long enough to look out through the glass roof. With this remaster, the view is clear again.
It clearly comes out of a rich Oakland musical community, yet it doesn’t lean on locality as a badge. Its sense of place lives in the recording itself: the warmth of the instruments, the intimacy of the performances, the feeling that these songs were made by people who pay attention to the spaces between sounds.
‘Bow and Arrow’ is a thoughtful study in transformation, but it’s also a record with real physical appeal. Arc rae strikes a rare balance between experimental and accessibility. You can pick apart the clever layers and unexpected combinations or just get lost in the beauty of a cello phrase appearing at exactly the right moment.
New York, Frankfurt, quarantine apartments, family homes, rehearsal rooms, friendships, and teenage beat-making all end up as pieces of one larger musical identity. Janoschka doesn’t try to smooth the differences away. He gives them a shared language, and that is where the album’s real achievement sits.
Pan’s background is key to the record, but it never plays like a résumé or a rebellion against classical culture. Her real achievement is turning what she learned into something freer. Her grip on loops and arrangements hasn’t loosened, but the pecking order has: improvisation, electronics, post-punk bursts and gentle pop melodies now coexist with equal weight.
Everything on ‘Eye Wander’ circles around vanishing, looping and noticing. With no names or backstory to lean on, you’re left with the sound itself: steady rhythms, distant voices, guitars glimmering through fog, and arrangements one step from giving the game away.
The title suggests a project still hardening, an outline waiting to fill in, and the band’s habit of releasing 7-inches in quick succession (this is the second in as many years) points to a group that prefers to work out its identity in public, one tight statement at a time.
