There is a profound irony in naming an album ‘The Accelerationists’ when the music itself serves as a rare force capable of bringing the world’s frantic pace to a halt. Underlined Passages have been a mainstay of the indie-rock landscape for nearly a decade, yet their 2025 release feels less like a predictable evolution and more like a high-stakes recalibration. Captured at the storied Magpie Cage in Baltimore, the record pulses with an urgency that mirrors its core themes: the fractured, unsustainable systems defining contemporary existence.
The album opens with a wink, titled “Endsong,” a track designed to immediately knock the listener off balance. For enthusiasts of mathematical precision, the shifting 7/4 and 8/4 time signatures in the initial riff provide a jolt of angular friction before Michael Nestor’s unmistakable vocals enter the frame. Nestor’s voice (calm, sincere, and fluidly melodic), acts as a fragile tether, softening the abrasive edges of the instrumentation. While he has always excelled at emotional shorthand, he is supported here by a rhythm section operating with ferocious intent. Drummer Roger Stewart performs with such power on the opener that the kit sounds as if it’s being driven through the floor, while Joseph Marcus contributes a bass presence vibrating with a complex, prog-leaning influence.
Much of the conversation surrounding this record will likely center on its production. The mix is dense and bristly, embracing a saturated soundscape that draws heavily from the shoegaze tradition of atmospheric weight. Rather than opting for clinical transparency, the production pushes against the overdriven headroom, creating a “red-lined” energy. This layer of industrial grime perfectly complements the lyrical focus on systemic decay. On the track “Heywood Floyd,” this grit dissolves into a shimmering flow. Marcus’s inventive bass work allows Nestor to treat his guitar as a textural accent, layering luminous colors over a rock-solid foundation. It captures a specific contemporary neurosis: the intrusive thought that punctures a moment of peace.
The record finds its true power when it merges its garage-rock roots with high-concept composition. “Flaxxon” stands as a quintessential example of this balance, serving up existential anxiety alongside a saccharine melodic hook. Similarly, the verses of “Aloof” act as a quiet, unassuming shadow that makes the eventual Technicolor burst of the chorus feel earned. The mechanical heart of the album, however, is “Tyrannique.” The percussion here is marvelously taut, leading into a final guitar hook that, while partially submerged in the mix, remains the most infectious earworm on the project. It evokes the high-energy peaks of the Matthew Good Band in their ‘Beautiful Midnight’ (Universal, 1999), era.
For a group capable of pivoting from the stadium-ready sensibilities of “Somelin” to a gritty reimagining of the Smashing Pumpkins’ “La Dolly Vita,” the finale “Remainder” offers a vital moment of stillness. It is a slow-burning, blue-beam ballad that brings this sub-30-minute whirlwind to a haunting and gorgeous conclusion. ‘The Accelerationists’ is not meant for the background. It is a body of work that insists on a close reading, much like the band’s own name implies. Underlined Passages have returned not simply to occupy a space on a playlist, but to prove that meaningful music still possesses callouses, still carries a heartbeat, and still has an urgent message to deliver.
Find out more here: Bandcamp | Mint 400 Records
