Adding to his super-extensive discography, Boyracer’s Stewart Anderson joins Sarandon’s Crayola and David Nichols from Cannanes and Huon for an indie pop extravaganza spanning three continents (North American, Europe and Australia, respectively) and heavily rooted in the psychedelic garage rock of the second Nuggets box set.
Dust on the Radio* are a quintet from Los Angeles, interweaving New Wave and Post-Punk influences from the 70s and 80s for a dark and sleek effect.
Eugene is a fantastically original release from just as unique of a performer.
A year after releasing their debut EP, No Rest for the Unseen, Paris’ Noise Generator prove how far their industrial sound has expanded on their first full-length.
Topeka, KS experimental cellist/multi-instrumentalist Aaron Martin’s latest collaboration is with Oakland, CA drone/psychedelic/metal practitioner and synth/sitar player Joseph Angelo, who also records under the name Luperci.
The sound collages that Topeka, KS-based experimentalist/cellist Martin creates on Comet’s Coma are every bit as alluring and anxiety-alleviating as those on his last solo LP, 2010’s Worried About the Fire.
After seven years with Sony followed by a robust fan-funding campaign, Australia’s Kate Miller-Heidke independently releases her fourth album, highlighting her vocal talents as well as her pop sensibilities.
It’s so rare these days to get warm and beautiful close harmonies in a classical country style, not unlike The Everly Brothers and CommonUnion59 do not disappoint on their new album.
Louisiana-born and raised, now Portland, OR-based Beach manages to make all of Ascension’s 17 songs unique, each one strewn with his wry, witty wordplay, and delivered in his amiable drawl.
“St. Marie’s annual Static Waves compilation hit just around Thanksgiving this year, and it’s a massive three disk compilation, one comprised entirely of Slowdive covers! What a treat for the scene that celebrates itself.”
As 2012’s Scale Model EP showed, this Nashville trio has completely overhauled their sound, from their 2005 seven-song Twilight Dim’s moody and meandering, two-guitar atmospheric rock into more dynamic and direct, synth-fueled dance-pop.
A Pennsylvanian musician set to release his new album, I’ll Be Fine, Jano could have easily been found amongst the folk revival of the 50s and 60s alongside artists like Pete Seeger and early Bob Dylan at his folkiest.
Unbelievably, Dave Plaehn is not a pseudonym for Todd Rundgren, although their breathy, sweet vocals are almost identical.
“Opening track “Chromatique” moves like an ominous mist over and through you before Durant and Edwin charge in with bold musical strokes that surge into a mind storm.”
Madrid’s The Kiss That Took A Trip is the solo project of M.D. Trello. Inspired by the likes of Brian Eno and Steve Albini, Trello has released a new experimental album, Electroforest.
Though it shares many of the same characteristics as their radiant 2013 LP Drawn to You, Close manages to outshine it, thanks to more buoyant production and diverse arrangements.
Twerps have a great record somewhere in them, sadly it’s not Range Anxiety .
Anne-Simone always sounds like she has one foot planted firmly in the future and the other in the past’s idea of the future, making for a fascinating melding of sounds.
Try to imagine a many colored quilt patched with The La’s, and maybe even Paisley Underground faves, The Long Ryders.
At first sight—or rather first sound—*i am Love* may appear to be another band in a long line of indie rock groups like Arcade Fire or Fun., but upon listening to them, you’ll quickly realize something isn’t quite right.
On Ova Nova, this Philadelphia quartet’s distinctive blend of light pop, improvisational jazz/R&B, and angular art-rock feels more hypnotic, fluid, and melodic.
Out of print almost immediately after it was released, Crayon’s sole full-length, one of Sebadoh founder Lou Barlow’s top ten albums of 1994, finally receives its first reissue – on vinyl, no less.
Philadelphia, PA’s explosive Split/Red finally deliver their debut EP containing six caustic songs that live up to the title in every sense.
Fifteen years into their heady brand of sonic mind expansion, New Hope, PA’s Birdie Num Num and the Spirit Squad, the brainchild of vocalist/guitarist Joe Ujj, drops their sixth album like a flaming pile of space junk.
Before he became known as a composer of microtonal electric guitar symphonies, Glenn Branca released several no wave/art rock records that pointed directly to his later work.
Better known as Fantasic Planet in the US, 1973’s French/Czech Cannes award-winning La Planète Sauvage was a masterpiece of psychedelic animation that still resonates today.
On their fourth LP, this decade-old, left-of-center Portland, OR trio sounds less deliberately daft than on past releases. But So Sweet still exhibits enough eccentricities to entice MMS enthusiasts.
Formed in 1972 and finished by late 1975 without releasing an album, Electric Eels (aka “electric eels” in reference to poet e.e. cummings) gave Cleveland, OH the much unwanted slap in the face it deserved.
Having performed together live a few times, guitarist Fred Frith (Henry Cow, Massacre, Naked City) and saxophonist John Butcher (Anemone, The Apophonics, Thermal) entered a studio in 2009 and recorded ten tracks with no overdubs.
After nine years of relative silence, Screaming Headless Torsos, the prog-funk vehicle for virtuoso guitarist, David Fiuczinski, deliver their first studio album with new vocalist, Freedom Bremner.
NYC songstress and Mpress label head Sage follows her exquisite 2012 tenth LP Haunted By You with an even more accomplished, immaculately-crafted eleventh.
West Yorkshire, UK folk experimentalist, Sophie Cooper, delivers her breathtaking third full-length under her own name, cementing her status as the Northern English princess of psychedelia.
An an intimate, honest album, drawing on a unique and complex life.
In a truly bizarre meeting of the Eastern Asian underground, Beijing, China’s Cat AIDS and Osaka, Japan’s Go Tsushima get together for a mind-boggling split cassette release.
A whole year after its initial release as book and CD, Throwing Muses’ epic ninth studio album finally sees a proper vinyl release.
The Workers are primarily a vehicle for New York singer/songwriter Dan Greenwald, and the group has just released a new EP entitled Totem. For the relative heaviness of the EP’s cover artwork, there’s a certain wistful and outsider feel to the songs here.
For his umpteenth release, the creepy, crawly surf master of The Barbarellatones, Robbie Quine, delivers a toned-down, darker version of his vision that still retains all the dry, silly humor we’ve come to know and love.
Nate Paladino is a solo artist from Orange County. Like an American Richard Hawley, Paladino projects himself as a rockabilly artist for the modern age,
Triumphantly returning after their 1992 demise, Coventry, UK’s The Primitives deliver their first full-length of original songs in twenty-two years.
Thirty-four years after initially released, the lone non-cassette LP by experimental industrialist, Philip Johnson, finally receives its first proper reissue.
With Brooklyn’s venue Death By Audio having just closed, many that have found a home in the borough’s D.I.Y. scene are wondering what’s next. While Gowanus’ EndAnd may not wholly be the answer, they certainly provide a visceral breath of fresh air and a sense of relief.
A dozen or so years into her solo career, Los Angeles singer/songwriter, Arrica Rose, continues her musical journey with an album that focuses on the duality of the vinyl format while retaining a solidarity in sequential listening.
Bristol’s post-punk pioneers, The Pop Group, continue their mission of revitalization with a collection of non-album singles, live tracks and previously unreleased songs and takes recorded throughout their career.
Seminal UK post-punk band, The Pop Group, ushers in a series of reissues with a re-release of their 1980 final statement.
York, PA hardcore trio, Police State, offer a smashing debut built on the sonic chaos of crusty thrash punk.
Known for creating dark, atmospheric, at times brutal, soundscapes inspired by writer H.P. Lovecraft, Bobby Yagodich, leader of York, PA’s The Owls Are Not What They Seem, expands his sound with guest performers to create an aurally enthralling fourth full-length.
Returning for their fourth release, the ever-present Thurston Moore and Sunburned Hand of the Man drummer, John Moloney, continue their improvised sonic explorations into ear-splitting black metal intensity under the moniker of Caught on Tape.
Magic Castles hits my sonic sweet spot. Just one listen to the gorgeous “Dragonfly” with its majestic flourishes of guitar and you’ll be bought and sold.
Sydney, Australia’s Michael Cullen is back with his new solo album, True Believer. A post-punk veteran since the 80’s, True Believer finds Cullen growing and channeling more of Nick Cave than the Ian Curtis of his earlier work.
Montreal’s First You Get The Sugar have all the makings to be the next indie darlings. On their new Foreign Lands EP, they show off a stylish, polished brand of pop, injected with a dark and stormy undercurrent.
