London’s Band of Holy Joy began 30 years ago as a dark electronic group along the lines of Cabaret Voltaire and early Human League, eventually morphing into the type of dramatic British art rock that Jarvis Cocker delivered on his solo albums.
DRUNKSOULS are the kind of band that makes exactly the type of music you would think they’d make from their name: a good listen while having a drink at a backyard BBQ or any laid-back social gathering.
Like a darker, heavier Queens of the Stone Age or a meaner Wolfmother, Truckfighters updates classic rock for the 21st century.
Over 50 years, ESP-Disk has released some of the most ground-breaking albums in the jazz arena. Chicago’s explosive Tiger Hatchery continue in that tradition, delivering what could be the most extreme record in the label’s catalog to date.
Michael Cullen may not be a household name, even to indie music fanatics, but his roots lie deep in Australia’s 90s post-punk scene with membership in bands like The Hardheads.
There is a gift at work in the songs that you have to squint to see sometimes, but damn if this album isn’t something that should be considered an underground legend, a sun-damaged Love Tara for this generation.
After several European albums since their forming in 2006, Czech duo Dva finally get their first domestically available American release.
Released by the nostalgia crazed label, Sundazed Music, the compilation plays like a greatest hits LP, boasting the many resplendent sides of the London quintet.
Released in early January on New Fortune Records, the album adds to the group’s already impressive canon.
Each Other appeare to be a band brimming with innovative indie pop ideas on their first full length, Being Elastic.
Amatus is positioned between the experimental and the accessible, as if she purposely isn’t looking for large commercial potential, but she gives everything enough of a pop undercurrent to make even the most avant garde moments extremely melodic.
Since the mid-80s, Sea Monster has successfully straddled the opposing worlds of suburban Long Island and New York’s punk scene.
Culling influences from the obvious bands one would expect from an indie pop group like the Smiths to the more unexpected like Syd Barrett, the band has crafted a wonderfully unique and fresh take on a well-worn genre.
Paris’ Noise Generator has provided Neorev with some of his best remixes, though on their debut release, the duo reveals their true nature, and it’s not necessarily what we would expect.
Austin’s reigning Americana champs, So Long, Problems, split the songwriting and find their sweet spot on Ashes in the Rearview.
Recorded in his mom’s garage in January, the short release reveals a skilled musician performing both lighthearted and austere compositions with command.
Following up on his last release, A-Sides, Josh Matthews continues to expand his unique take on Leonard Cohen-like folk with a more modern and experimental twist.
Nearly five years after playing their last show, this Seattle and New Jersey-based trio release a fetching new EP.
The Cold of the Morning was recorded in 1976 by Jim Dickinson and was the first release for Peabody. The monumental record exhibits Selvidge’s rugged understanding of African-American field songs, Tin Pan Alley schmaltz, regional blues, and coffeehouse folk.
This five-song cassette EP, sold at Landing’s 15th anniversary tour in the summer of 2013, suffers no drop-off in quality from their previous releases.
Small Faces’ Here Come the Nice box set is a remarkable treasure case for super fans. And on two of the four CDs, said fan is a fly on the wall, watching the four Faces trying out their ideas, and gauging their working process, noting their recognizable steps to where they were ultimately, familiarly going.
Bassist Michael D. Donnelly played in such London-based experimental rock bands as Delicate AWOL, Rothko and Elite Barbarian before striking out on his own with this, his disturbing first solo release.
Because Epperson’s voice is neither like the monotonous polished throngs nor the overdone gruff roaring of the new folk revival but rather somewhere in the middle, the individuality of his voice adds a unique dimension to his music.
The trio of Mary Halvorson (guitar,) Michael Formanek (bass,) and Tomas Fujiwara (drums,) known as Thumbscrew, make for an assured ensemble on their self titled debut.
On their first US release since 2007, Aa create the cybernetic march of the future with tribal drumbeats, synthesizers and Auto-Tuned vocals, while somehow recalling the early ’80s.
Although only three songs long, Montreal-via-Romania’s Olteanu shows off the competency of his guitar playing and the flair of Franco V’s vocals on this EP immediately.
Former Emeralds member, Mark McGuire, steps his ambient sketches into the spotlight on Along the Way. The pop sensibilities McGuire has alluded to on previous works finally come to full bloom on his newest full length.
There are so many aspects flowing in and out of their music—from industrial clangs to the spoken word style of Tennant—that instead of losing themselves in their influences, no:carrier have created something entirely refreshing and new.
From the album, you’d think McCarty is from London, England, not Canada, because The Speed of Light plays like a history lesson of the UK’s last three decades of indie and Brit Pop.
Black Dirt Studio in Upstate NY has hosted many fine clients over the years, including artists on Thrill Jockey, Northern Spy and Sub Pop.
From the ashes of Crank, Upstate NY’s Cell 63 continue the noisy punk onslaught with four songs that show the trio at the top of their game.
Austin’s baroque composer collective, Some Say Leland, find new perspectives on their new long player, Brought Low.
An “antimacassar” is the doily placed over the back of a chair or on the ends of the armrests to prevent soiling, a practice that began in Victorian England with the popularity of Macassar oil, the contemporary hair grease.
There are others out there today doing the same sort of art pop as Thorpe, but not only has she carved out her own individual brand, while others wile away their time with meaningless lyrics, few are as bold as Thorpe.
Daniel Lanois will release “Papineau” on Valentine’s Day 2014. The new single captures a disagreement between a father and daughter over matters of the heart.
Stanley Brinks (of Herman Dune) once agan joins his old pals, The Wave Pictures, for a booze inspired LP entitled, Gin. It’s a fitting title for an album brimming with snickered lyrics and tipsy melodies.
Follow truly is a full-album experience, well-rounded, and wholly enjoyable from start to finish, with moments to make you laugh, moments to make you cry, and moments to make you let loose.
England’s countryside is rife with myths and legends concerning strange creatures and magical places.
The new album entitled, Old Fears, trades in SOL’s charm for smooth intricacy.
The trio of, Belfi/Grubbs/Pilia, reach the spire of their collaborations on their newest, Dust & Mirrors. With Grubbs and Pilia’s guitars center stage, the unit give clarity to the sonic concepts first examined on 2010’s Onrushing Clouds.
New Bums automatically bring to mind the mystical songwriting duo of Dave Kusworth and the late Nikki Sudden. While Voices in a Rented Room does share obvious artistic similarities to Robespierre’s Velvet Basement, the album displays far more than the suave, scarf and cigarette shuffle regularly offered by The Jacobites.
What happens when you combine the spawn of a Beatle, Deerhoof‘s drummer, a Ceramic Dog and a projectionist? You get Crotesque.
Half-Life is another fantastic offering from Mase, and if already a fan, it’s worth adding to your collection, or if a newcomer, it is a perfect introduction. Mase delivers more of her unique take on 70’s New York art proto-punkers like Patti Smith, Television, and David Byrne
Featuring members of Pylon and Olivia Tremor Control, Athens, GA’s New Sound of Numbers deliver a post-punk spacerock masterpiece with their sophomore LP. Prepare to have your mind blown.
Covering ANY Beatles song, much less enough songs to fill the majority of an album, is a decision that must be taken seriously because there are a lot of questions that will come up. MonaLisa Twins have undertaken this challenge with their new album and have ended up with pleasantly surprising results.
The world’s best underground electronic artist triumphantly returns yet again, this time adding hip-hop to his repertoire.
Though Verna Brock may be more well known for her contributions to ’90s indie rock with Northern California bands like Holiday Flyer and Rocketship, she also recorded several 7“s and EPs as Beanpole, her 4-track persona.
The trio make assured and destructive steps with every crushing track on this album, a new watermark in menacing, cathartic neo-doom.
Whatever format you like will suffice, though, as the more I play it, the more I also think that this is Dum Dum Girls’ best work to date.
