Hot on the heels of acclaimed full-length Animal Poem, a record which earned its place among our favourites of 2025, Portland, Oregon-based songwriter Anna Tivel is returning with collection of b-sides from the same recording period to further expand the world and themes of the album. “The EP will not be released until next spring, though lead single ‘Swan Song’ shows the new tracks are just as evocative and finely crafted as their sisters on the main album,” we wrote in our preview. A song which “pairs a relaxed rhythm and poignant tone with something urgent beneath the surface, a loneliness hurried by the violent pressing of time.” Ahead of its release, Tivel has now ‘Memphis’, another track loaded with equal parts tender emotion and shining intensity, its characteristically nuanced narrative painting life as something so bright it hurts. “I started writing ‘Memphis’ on an airplane after meeting an electric-eyed ex-convict heading to an evangelical gathering in Tennessee,” Tivel explains. “He was magnetic, ecstatic, possibly manic, and so in love with life. He got me thinking about the things we reach for when reality is too painful to accept.”

This Lonesome Paradise – Changelings

“A meditation on the American Dream with all its brutality, broken promises and betrayals.” That’s how we described This Lonesome Paradise‘s 2024 album Luna Nocturna, an almost McCarthy-esque picture of the West in all of its stark and haunted weight. Now E. Ray Béchard and co. are back with Death Motels, a brand new record on Bad Vibes Good Friends which looks to further this aesthetic, positioning the project as one working slightly outside of time with a sound that conjures a mythic past while always facing forwards. Take single ‘Changelings’ and its accompanying video, a brooding, Lynchian number as dark as the night itself, playing like some black mass out in the desert, looking to communicate with some other place or time.

Death Motels will be released on the 12th March via Bad Vibes Good Friends and you can pre-order it now.

Lucy Kruger & The Lost Boys – Damp

With the release of new album Pale Bloom fast approaching via Unique Records, Berlin-based outfit Lucy Kruger & The Lost Boys have unveiled latest single ‘Damp’. “Like most of what I write, it’s about a desire for depth and connection,” Kruger writes of the track. “A kind of quiet mocking of the mundane and domestic. The first verse reflects that polite culture of not saying what you mean, of being too afraid to ask for what you need in case you seem too much, or expose the mess of falling apart. There’s a wanting, though—to give in, give up, or simply to give.” This sense of wanting is made palpable across the song, both in terms of the simmering, taut urgency of the sound and the longing loaded into Kruger’s vocals, and the result is equal parts uneasy and mournful. The sad discomfort of revealing a deep part of oneself without knowing if anyone is even looking.

Watch the video below, created by long-time collaborators DTAN (Berlin) and Gaussian Studios (Amsterdam):

Pale Bloom will be released on the 13th February via Unique Records and you can pre-order it now.

MacGregor Burns – The Wreck of the Edmund Fitzgerald

Released to celebrate the fiftieth anniversary of the original, MacGregor Burns has unveiled his own reverent version of Gordon Lightfoot’s classic ‘The Wreck of the Edmund Fitzgerald’. An impromptu endeavour recorded in a single take, the song sees Burns stick close to Lightfoot’s process, eschewing embellishment or ostentation to keep the focus on the voice. Not an exercise of reinterpretation but devotion. An attempt to channel the spirit of the original and bring it forward fifty years, something which extends right down to the artwork itself.

‘The Wreck of the Edmund Fitzgerald’ is out now and available from the usual places.

Otracami – Please

We last featured Otracami back in 2023 with the release of touching the stove coil, an album which saw Camila Ortiz confront the past in all of its minutiae with equal parts foreboding and longing. “A strange mixture of pain and pleasure,” marked the record, as we described. “Approaching something which will almost certainly hurt, yet glows alluringly all the same.” Such tension between conflicting states continues on Otracami’s new full-length Runoff , set for via Figure & Ground this spring, as highlighted by lead single ‘Please’. The track uses samples and field recordings to add layers of depth to a full band arrangement, a style which speaks to the album’s concerns with the dynamic between restraint and release. “I was trying out leaving for the first time—people and jobs and situations with family,” Ortiz describes of the period in which the album was written. “It was real trial and error—sometimes that really worked and felt liberating and other times I had to turn around and go back. It was a period of big experimentation.”

The Pretty Flowers – Came Back Kicking

This spring will see the release of Never Felt Bitter, a brand new full-length from The Pretty Flowers, and the LA indie rockers have never sounded so urgent. Written within a city (and wider country) shaken by turmoil, be it the unprecedented wildfires or equally tinderbox political moment, the quartet found themselves driven by the surrounding atmosphere, the anxiety and chaos of their surroundings seeping into the tracks themselves. “There’s a sense of urgency, fear, and confusion in these songs,” explains drummer Sean Johnson. “Like each one might be the last song we write, or this might be the last album. If anything, it’s the most present we’ve ever been.” Lead single ‘Came Back Kicking’ introduces the style, embracing an almost Japandroids-esque momentum to not only burn through the upheaval but offer enough affirming energy to suggest we might be able to stand up to the things which want to drag us down.

We went walking under black skies
We wore out the terrain
It may have taken billions of years
But it had to happen sometime

And you can take it apart or you can blow it up
Either way don’t let it eat you up
Sucked you in to get a better look
And you came back kicking

Richard Walters – Rafts

Created as part of an artist residency for the Solent Seascape Project and the Blue Marine Foundation, Songs From the Solent is a new album from songwriter Richard Walters. The eight-song release incorporates field recordings from the local area, voices from Solent communities (sea swimmers, artists, visitors and more) and contributions from a stellar list of collaborators including Isle of Wight native Jeremy Irons to flesh out its folk sound. The result is something fundamentally rooted in place. Indeed linocut artist Angela Harding has made a bespoke illustrated map of the Solent, highlighting the locations which inspired each track, which will appear on the Solent Seascape Project website. Exploring the decline of migratory birds and featuring samples from Hayling Island nature reserve, lead single ‘Rafts’ shows just how evocative and uplifting this style proves to be.

Watch the video filmed and edited by Matt Jarvis below:

Songs From the Solent is out now and available from the Richard Walters Bandcamp page.

Robber Robber – The Sound It Made

Back in November, we wrote about ‘Talkback’, the fist single from Robber Robber since they signed with Fire Talk. “A song which doubles down on the spontaneous, impulsive style of the previous record,” as we put it, “[Nina] Cates’s vocals spiralling over the wiry rhythm like the contents of a racing mind blown up and projected onto a wall.” Now the Burlington, Vermont outfit has unveiled new album Two Wheels Move the Soul, and have shared opener ‘The Sound It Made’ to further introduce the sound. The record has roots in turmoil, born in a period after a landlord called for the longtime home of Cates and drummer Zack James to be demolished, and sets out to map the experience of living in a world beholden to the whims of the cruel and greedy. As you might expect, the result is chaotic, foreboding and often abrasive, and ‘The Sound It Made’ throws the listener right in from the off. “All systems go again / Will it ever stop?” Cates asks at one point, her delivery carrying the deadpan cool of someone who knows the ways of the world all too well. “Don’t know / Don’t think so / Don’t know what we’ll do if not.”

Watch the video below, by director Wes Sterrs, producer Emilie Silvestri and director of photography Jeff Griecci:

Two Wheels Move the Soul will be released on the 3rd April via Fire Talk and you can pre-order it now.

Sister Wanzala – Don’t Be Good To Me

Following on from ‘Now You’re Mine‘ and ‘Winter Dominos‘, ‘Don’t Be Good to Me’ is the third and final part of a loose trilogy of singles from London’s Sister Wanzala. And it might just be the most surprising track from the project to date, the outfit having made a name with a wry, tongue-in-cheek humour now turning their attention to that most terrifying of things: earnestness. Which isn’t to say the self-deprecation of previous releases has evaporated. The song explores the mystifying sensation of another person extending their kindness towards you, despite all the evidence you have collected to prove you could never deserve such a thing. Yet despite the subject matter, the song proceeds with a sensual swagger, proving that no matter how many times love might make a fool of you, there’s no harm in trying to look cool.

Snake Orange Cake – Vision

Snake Orange Cake, the new project of Åland-born, Berlin-based artist Julia Carlsson builds upon the electronics of previous project leoblu with spoken-word poetry and a newfound narrative focus. After singles ‘Hair‘ and ‘Animals‘ (a track “embedded within a nocturnal, slightly unreal space,” we wrote of the latter, “[dissolving] any distinction between the organic and the digital, as well as the line between waking reality and dreams”), Carlsson has returned with new single ‘Vision’. A self-described “hypnotic ritual in sound” which functions something like an incantation or mantra, the vocals repeating a series of mystical images as though hoping to conjure some mystical effect. The pulsing beat only furthers the mesmeric vibe, leading the listener into a space somehow adjacent from every day reality.

Watch the video by Maren Frey below:

‘Vision’ is out now via the Snake Orange Cake Bandcamp page.

Special Friend – Breakfast

Consisting of Erica Ashleson (drums, vocals) and Guillaume Siracusa (guitar, vocals), Franco-American duo Special Friend, have been making minimalist, lo-fi indie pop since their formation in 2018, releasing an EP and two albums in the process. Now the Paris-based outfit is back with Clipping, a brand new full-length with Howlin’ Banana which finds the Special Friend sound as rich as it has ever been. Drawing on folk, slowcore and krautrock influences, it opts for a newfound layer of attention and polish to the mixing. Single ‘Breakfast’ gives a taste of what is to come, an infectious track on our eroding attention spans which stays true to the band’s lo-fi origins with a delightful camcorder video.

Clipping will be released via Howlin Banana Records on the 20th March and you can pre-order it now.

Sweetbreads – Punisher of Love

“The perfect antidote to the breakneck bluster of the world we call home,” was how we described Out of Range by Sweetbreads back in 2022, an EP which followed its protagonist on her “quest to resist the thankless treadmill of modern living, opting for an unproductive and entirely more positive way of life.” The latest Sweetbreads release sees lead Melody Stolpp continue their exploration of this contemporary rat race, delving into the weight of expectations and self-sabotage which results. Pushing these ideas of further, comedian Clare O’Kane directed a video to accompany the track, casting fellow comedian Nick Naney as a humanoid rat pursuing Stolpp and her partner through the streets of New York. “We wanted to externalize that feeling of being chased by your own worst impulses,” as Stolpp explains. “What better way to do that than with a literal rat man running through Brooklyn?” Watch below:

‘Punisher of Love’ is out now and available from the usual places.

The post Weekly Listening: January 2026 #1 appeared first on Various Small Flames.

Ada Lea – when i paint my masterpiece

Saddle Creek

How does someone approach creating their magnum opus? The title of Ada Lea‘s third album when i paint my masterpiece might set the bar very high for the Montreal artist, not least off the back off two stellar records released in 2019 and 2021 respectively, though spend time within the album and it becomes clear it is not so much concerned with the final product as the process of creation itself. Because contrary to its name, when i paint is no lesson in artistic obsession. Rather it is an ode to the value of stepping back and allowing life the space to unfold. Because while Alexandra Levy did indeed take a big swing, writing over two hundreds songs before slowly distilling the list into the final sequence, her artistic practise was intentionally spacious, curious and open-ended. Levy lists “resting, extending my creative reach, going back to school, studying painting and poetry,” as key components to this mode of working. “Taking a step away from music as guided by industry expectations. Simplifying things. Getting a job, starting to teach. Engaging with the process rather than the product.” The trick to painting a masterpiece, it seems, is learning to put the brush down every once in a while. Being kind to yourself and opening your heart and eyes to the surrounding world.

Adeline Hotel – Watch The Sunflowers

Ruination Record Co.

Across a string of recent albums, Dan Knishkowy’s Adeline Hotel has welcomed listeners into the most complicated, intimate recesses of life, examining themes of love, loneliness, codependency and loss from every angle you might imagine. He’s zoomed in so close the familiar is rendered strange, pulled back so far we get a bird’s eye view from above, each record seeing the sound shapeshift into something different in order to capture a new perspective or subtle change in the circumstances. There’s been solo guitar, piano ballads, languid jazz and raucous rock, but after the austerity and uncertainty of 2024’s Whodunnit, latest full-length Watch The Sunflowers pivots towards the opposite pole of the spectrum with a kaleidoscopic style. “The album is a reaction to the threadbare arrangements of its predecessor,” as we wrote earlier in the year. “As though, having endured the aftermath of loss, the colour has come back into Knishkowy’s world.” This change might not represent a total epiphany, Knishkowy’s lyrics are as questioning as ever, but rather a newfound clarity in which entrenched beliefs dissipate and such searching begins to feel meaningful.

Anna Tivel – Animal Poem

Fluff and Gravy Records

“’It’s hard to know how to hold a creative life in a time that feels fraught with venomous division, careening technological advance, and an ever-widening chasm between the affluent and the dispossessed,’ says Anna Tivel, the songwriter who has won acclaim with albums like Blue World, Outsiders (plus its stripped back Live in a Living Room twin) and Living Thing. Such concerns have long troubled Tivel’s work, the latter record being was what we called ‘a decidedly existential response to a period of entrapment and encroaching death.’ It used the pandemic as a platform to explore human suffering more generally, though dwell on such ideas too long and the entire artistic endeavour can come to seem futile. ‘What good are poems when affordable housing is scarce,’ as she continues, ‘the climate teeters on a dangerous edge, and war breaks out over misinformation spread by profit hungry algorithms?’ Tivel’s latest full-length Animal Poem is not so much an answer to this question as one artist’s small contribution towards one. A small piece of the colossal, communal whole demanded of us. The imperative to celebrate life and warn of its fragility. To remind everyone of just what we stand to lose should the malevolent forces of this world be allowed to grow.” [Review]

The Antlers – Blight

Transgressive

“’Lately I’ve become more aware of the cost of convenience, how the choices I make as a consumer seem insignificant, but can add up to something disastrous.’ So explains Peter Silberman of The Antlers when speaking about the origins of the project’s seventh album Blight. The record, written over several years and mostly recorded at Silberman’s home studio in upstate New York, utilises The Antlers’ distinctive mix of raw emotion and almost otherworldly arrangements to cast the present moment in a new light. One able to take something familiar and apparently ordinary and reveal it as anything but, be that the calamitous consequences of our consumerist culture or else the oft-ignored beauty of the natural world which stands to be lost as a result. As Silberman concludes: ‘These songs were born out of an attempt to come to grips with my guilt’.” [Review]

Benjamin Shaw – Strange Feelings in Nervous Business / Publicly Funded Research into Lofty Enchantment / Immortal Jellyfish

Hand Drawn Hand

Unofficially dubbed the “Fumblinginthedark trilogy,” the three albums Benjamin Shaw released in the second half of the year were as much an exercise in musical therapy as they were creations for an audience. Shaw’s life took a turn for the difficult, and he took refuge in a creative world of his own making, using (mostly) just guitar, synth and some pedals to establish its borders and depths. “In an attempt to try and escape my flailing brain I wanted to find a way of playing and improvising in a live way,” Shaw explains. “After a bit of experimentation and a few trips to Facebook marketplace, I eventually stumbled on a nice way of live-looping and building things in real time.” Luckily for us, Shaw does not close the door behind himself. The trilogy, best experienced as a whole, offers a life line to anyone in need of time out of the harsh realities of the day to day.

Carson McHone – Pentimento

Merge Records

Pentimento is a term from art history that refers to the traces of an earlier painting that show through layers of paint on a canvas. A thought or sketch or discarded draft, even a different painting entirely, that nevertheless informs the final work, if only in its absence. The concept is central to Carson McHone’s latest album, which itself is built from (and literally on top of) a vast catalogue of inspirations, from literature and field recordings to diary entries, watercolour paintings and lines of poetry scribbled on postcards. The result is a folk rock record rich in detail but with a loose artistic flair. Barrelling rockers sit next to beautifully simple pastoral folk, interspersed with snippets of poetry and snatches of other recordings, lost conversations, forgotten songs, fragments that drift in and are suddenly gone. Set against what McHone describes as a “backdrop of global crisis,” this mosaic manages to ponder questions otherwise too big to broach, its apparently dissonant style giving some voice to the unsayable and ultimately exploring how love and beauty can persist in a world in such a dire state.

Craig Finn – Always Been

Thirty Tigers

The theme of redemption has long run through the work of Craig Finn, most notably the resurrection arc of Holly on The Holy Steady‘s seminal Separation Sunday, but also across his solo catalogue, as with the evocation of the story of Ulysses S. Grant on 2019’s I Need a New War. Finn’s characters are often on the margins, existing in the aftermath of lives lived too fast or too hard, searching for salvation in any way it might avail itself, even if it’s just leaving enough of a story behind that people will remember your name. The protagonist of Finn’s sixth solo full-length Always Been is no different, a man with no faith who nevertheless joined the clergy, seeking the security and gravitas afforded to the role (“Cause when I was a child, I used to fixate on the chaplain,” he sings on opener ‘Bethany’, “The way he brought the widows all to tears / And that looked like a decent way to make a little living here / Gave myself to God for a few years”). Only our would-be priest quickly falls from grace and into the arms of any number of vices, and Always Been charts the slow arc towards his own redemption. With this clear focus and a polished LA aesthetic, the record could be one of Finn’s most narrative to date, though various tracks drift from the central character to illuminate other corners of his world. And it’s a testament to Finn’s writing that these songs are some of the highlights. Recalling the likes of Zevon or Browne, ‘Crumbs’ is golden and gathers momentum, while the quasi-bonus track ‘Shamrock’ is a stripped-back slice of traditional folk, though both capture pictures of people driven to desperation by the ratcheting pressure of life, yet always reaching into the future, ever hopeful of that one break which might erase the past and elevate them above the present. The moment they’ve always been waiting for in which they might be saved.

Dao Strom – Tender Revolutions

Antiquated Future Records / Beacon Sound

“Born in Vietnam and now based in Portland, Oregon, Dao Strom is an artist interested in overlap, convergence and symbiosis. Someone, as per their bio, ‘who works with three ‘voices’—written, sung, visual—to explore hybridity and the intersection of personal and collective histories.’ The result is the perfect marriage of style and substance. Music, poetry, writing and various amalgams of all three cross-pollinated by collaboration and linked across time and geography, giving voice to those who might otherwise be silenced and breaking down established boundaries. Drawing on the sensibilities of ambient, folk, post-rock, spoken word and sound collage, Strom’s latest full-length Tender Revolutions is the embodiment of this style. A joint release between Antiquated Future Records and Beacon Sound, the album comes complete with an accompanying book, released via The 3rd Thing press, to support and expand upon its themes. ‘These songs are, for me, inward and outward (ex)tendings across boundaries of self, diaspora, modalities of voice, across fractures and refractions,’ as Strom explains. ‘They are attempts at honoring small points and lines of connectivity I’ve been entangling in, for over a decade now, namely through creative collaborations and friendships with other Vietnamese women writers and artists’.” [Review]

Daughter of Swords – Alex

Psychic Hotline

“In some ways Alex is the perfect spring record. There are quiet moments of green shoots and bursting buds, and others of sudden, somewhat shocking, metamorphosis. The brash pop moments must be how a butterfly feels after emerging from its chrysalis, suddenly brighter, bolder, realising it has these beautiful wings and deciding to flap them. Messy in the best way possible. [Daughter of Swords‘] Alex Sauser-Monnig takes on the overwhelming, confusingly contradictive nature of contemporary life by mimicking it in music. If their career thus far has been defined by the restraint and minimalism of voice and (sometimes) guitar, Alex is something of its inverse, throwing everything into the pot and stirring gleefully. There’s danceable electronic pop and rumbling indie rock, easy melodies and tangles of synthetic textures… Left-field pop structures and inventive electronics create something equal parts catchy and deep. Plus, its moments of political awareness mean the introspective moments of self-reflection feel less like selfish solipsism and more a blueprint for liberation. A less-than-gentle nudge to defy convention and have the courage to live life as oneself in a world that feels increasingly allergic to outliers and eccentrics.” [Review]

Dean Johnson – I Hope We Can Still Be Friends

Saddle Creek

“Well, I’m feelin’ so much better now,” sings Dean Johnson in a moment that encapsulates his sophomore record I Hope We Can Still Be Friends. It’s the beginning of a song, his emotionally piercing throwback vocal style ringing out unadorned like a breath of fresh air, and it’s easy to imagine the bustling barroom fall to silence as people turn to listen. But, typically for the Seattle-based songwriter, the initial relief is something of an emotional sleight of hand. “Since I had my mind erased,” he continues as the true scenario reveals itself, “If I passed you on the street, I would not recognize your face.” What at first seemed like an instance of self-actualisation was actually just heartbreak wrapped up in a pretty melody and a joke about electroconvulsive therapy. It’s illustrative of a record that effortlessly marries sardonic humour and sincere vulnerability, icy bitterness and easygoing charm. Johnson croons like a long-lost Everly brother as he delivers tragicomic missives on our weird world and the sad and absurd characters that populate it, at times approaching broad social commentary and others bitingly personal. It’s Johnson with his complexities and foibles on full display, prickly and sensitive, hopelessly romantic and unapologetically cynical, often within a single song.

Devin Shaffer – Patience

American Dreams

“As Patience is the first album on which Devin Shaffer is joined by a group of supporting musicians, you’d be forgiven for anticipating something even richer and more intricate than her previous work. But the reality is something different. Because rather than showing off an increasingly ornate, layered sound, the album pivots towards the opposite. A sound stripped back and intimate, swapping out its textures in favour of increased precision, the instrumentalists coming together in a collective effort towards clarity. This turn towards lucidity speaks to the themes of Patience too. If previous album In My Dreams I’m There represented an arc of sorts, Shaffer moving from confusion and hesitancy towards a sense of acceptance, then the new record instead interrogates just what it requires to achieve lasting peace. That is, to reject the idea of a neat arc entirely, resist the temptation to believe one achievement or epiphany will solve your life for good. The songs of her debut sound like Shaffer battling against the noise of the world in search of an answer, but in dropping this ambient backdrop, Patience ceases the fight. Submits to the messiness of our interiors and indeed the wider world.” [Review]

Dylan Henner – Star Dream FM

Phantom Limb

“‘Late one evening, I was listening to the radio alone at home. I couldn’t find the station I wanted, so I shifted the dial around for a while. Between frequencies, fading in and out of fidelity, I found a station I’d never heard before. To my amazement, the station was broadcasting my own memories. Memories from when I was seventeen.’ So explains Dylan Henner of Star Dream FM, the enigmatic producer using this idea as the basis for a collection of songs which explores both the tactile experience of adolescence and the nostalgia of times now past. ‘The result feels personal,’ we wrote in our review, though there’s the undercurrent of something different. The sense Henner is not so much tapping into his own memories but a kind of collective yearning. One developed not through individual experience but the culture itself. The cinematic version of youth delivered to us so steadily we come to mourn it as our own.” [Review]

Ear – The Most Dear and The Future

Self-released

The project of Yaelle Avtan and Jonah Paz, ear make glitchy collages of indie pop and electronic music that draw on the duo’s background in “experimental electronic hardcore” and twee folk. Following some near-viral success on streaming services, debut album The Most Dear and the Future presents their unique and oddly compelling style to the world proper. Each of the eight songs are short and sweet, slipping effortlessly from gentle, near-whispered pop to headphone-shaking electronica in the blink of an eye. It all feels very now. Like indie pop for the age of short form video, kind of wild and hyperactive but also sad and lonely in a way that’s best described as nostalgia for something that has never existed. Imagine a dark room lit only by the harsh blue light of a screen, the world and everything in it whizzing by fried eyeballs in a blur of angst and emotion. It would fit on the soundtrack to the next Jane Schoenbrun film for sure.

Eliza Niemi – Progress Bakery

Vain Mina / Tin Angel Records

“To describe the music of Eliza Niemi as pop music feels like both an over- and understatement. On the one hand, these are deeply quirky and unique songs, built with an artist’s intuitive sense of composition and with little regard for conventional structures. But they are also undeniably infectious, packed with of melody and a sense of playfulness that feels baked into the record’s very bones. Which makes its sense of childlike curiosity (admittedly with more than a little added grown-up cynicism) feel genuine rather than cloying or twee. Niemi isn’t painting a pastel-hued cartoon of real life, but focussing on its gritty, peculiar details. And at the heart of it all are those questions, some funny and knowing, but others piercingly direct and vulnerable, evoking a very relatable sense of bewilderment at trying to find one’s place in this weird world. “Will it be what I wanted?” as she asks on ‘Pocky’. “Will it be how I pictured it?’ It’s a style full of wonder, though not often in the starry-eyed-awe-at-the-majesty-of-the-universe sense. Rather something more literal and commonplace, with Niemi often picking up thoughts and ideas and putting them down again, only to return eight songs later to wonder anew. ” [Review]

Ella Hanshaw – Ella Hanshaw’s Black Book

SPINSTER

Ella Hanshaw always dreamed of being a country star. Born in Procious, West Virginia in 1934, Hanshaw took up the guitar when she was twelve and hardly put it down for the rest of her days, writing hundreds of songs and touring across the state with her quartet, though never recording professionally or releasing anything in an official manner. Released five years after her death, Ella Hanshaw’s Black Book corrects the latter fact, Hanshaw’s granddaughter curating a collection of tracks recorded at home and church, not only celebrating and preserving the legacy of one of Appalachia’s most prolific songwriters, but allowing her devout message to continue to find new ears. “By the late 1970s, her music had become inseparable from her faith,” as the album notes describe. “She considered her work to be authored by God, who would ‘give’ her a song—both lyrics and melody—which she could write down and complete in fifteen minutes”. But ultimately, Ella Hanshaw’s Black Book is more than a document of one singular artist’s faith and vision. It is proof of the rich, lasting history of artists working in the margins, outside of the mainstream, and the ways in which music might allow a person to transcend the hand they are dealt in life. “By writing gospel music, performing in church, and viewing her artistic talent and inspiration as gifts from God, Ella framed her work in such a way that she could still claim artistic agency while avoiding individual attention that may have been perceived as self-indulgent and socially unacceptable,” as the album notes continue. “Resistant to the potential consequences of a professional music career as a woman and mother, Ella chose to keep her music a non-professional pursuit, shared with family, community, and God, which allowed her to uphold the duty she felt to all three.”

Erika Dohi – Myth of Tomorrow

Switch Hit Records / Figureight Records

“Described as ‘a sonic meditation on catastrophe, resilience, and rebirth,’ [Erika Dohi‘s Myth of Tomorrow] builds upon the eclectic style of predecessor I, Castorpollux to push Dohi’s sound in new directions, utilising a variety of sensibilities from dance, jazz, ambient and classical modes to create soundscapes as singular as they are striking. The record draws its title from the Taro Okamoto’s mural of the same name, and the title track draws the clearest line between the two artworks. A song concerned with the endless cycles of existence, not only asking what they demand of us but also how we might find peace and healing within the recurring patterns of life.” [Review]

Florry – Sounds Like…

Dear Life Records

“Positivity permeates [The Holey Bible],” we wrote of Florry‘s seminal album back in 2023, the release seeing Francie Medosch and co. embrace a country aesthetic but swerve the lonesome blues so common in the genre in favour of something more uplifting. “Through woozy waltzes, fuzzy Country-fried rockers and no small amount of narrative attention, Florry rise from an uncertain, bleak world like a Roman candle, as though the only way to live nowadays is to meet despair with an equal and opposite force.” With this style established, follow-up Sounds Like… fires on all cylinders from the off. The release of a band who have nailed down their identity and are now able to explore is vast, idiosyncratic terrain, jamming the pedal to the floor in order to cover as much ground as possible with good old fashioned rock and roll abandon. When Medosch cites The Jackass theme song as a big influence on the record, you sense the inspiration was less stylistic than spiritual. A calling to gather a group a pals together and whip up a storm, even if it means a little chaos and risk along the way.

Friendship – Caveman Wakes Up

Merge Records

“Reconnected trailer hitch / Rerouted drainage ditch / Resenting your fellow man / Shotgunning a Busch Light can.” So plays the average day for the protagonist of ‘All Over The World’ from Friendship‘s Caveman Wakes Up, a hard-working man going nowhere fast, his days locked into an apparently endless cycle of effort, small comforts and jaded acceptance. Yet true to spirit of the album, this apparent mundanity is layered with a plethora of different experiences, revealing the everyday to be more absurd than ordinary. Take how the simmering class consciousness which spikes the nine-to-five (“Got a job pulling weeds / On other people’s property / Shoring up liquidity / On other people’s property”) coexists with a near total capitulation to the boss’s desires (“Boss wants to know where you’re at […] Boss calls and you cave just like that”). Or how laying a lawn, surely the most banal, consumerist and unnatural thing on this manicured-green earth, leads to a chance encounter with the divine (“Dandelion seed caught your eye / Felt the beating heart of God / Laying down a roll of sod”). The song is just one example of a style running through Caveman Wakes Up, and arguably Friendship as a project more widely. A small world in which life is boring and surprising, shocking, magic and lonely all at once.

Frog – 1,000 Variations of the Same Song / The Count

Audio Antihero

“An album which runs the gamut between indie rock, alt country and smoky lounge cool, and packs the expected density and diversity of references from a Frog release, with Daniel Bateman nodding to My Chemical Romance, Gucci, Stillwell construction supplies, fatherhood, the 6 train and seemingly a million other things. But for all of these maximalist sensibilities, the record also lives up to its title by repeatedly orbiting the same ideas […] The effect is something like that of a phylogenetic tree, where the same amphibian DNA passes through generation after generation, morphing through all manner of phenotypes yet retaining that Frog spirit through them all. Just where this organism will evolve next is anyone’s guess, but we have a thousand possibilities to get through yet.” [Review]

Fust – Big Ugly

Dear Life Records

“[Fust‘s] Big Ugly functions as a detailed picture of such a [contemporary Southern] milieu, offering small glimpses into the lives of various characters which move across the frame. The artwork is a mural taken from the Big Ugly Community Centre [in West Virginia] that once served as a backdrop to a school play. Here it serves an identical purpose, albeit in a more abstract light. We meet people wandering as though dazed in the post-industrial present, pining for hard labour and good wages, struggling to find hours selling junk at the gas station. Or struggling with small home improvements as their houses slowly fall down around them. But also, most importantly, we see life continuing its rhythms, memories repeating, hopes emerging still. A picture of Appalachian or Southern life which does not yearn for escape or preach self-improvement, but loves and dreams instead. ‘They’ll have to haul me off,’ as the title track opens. ‘Off a down slope / in some front end loader / in a pine box / if they want me gone / if they want me lost / If they don’t want my lonesome here / they’ll have to haul me off.’ You are from where you are from, after all. A squalid home is home nonetheless, and the funny thing about fondness and pride is how they survive the most naked of truths. Fust aren’t interested in willful ignorance, rose-tinted reminiscence or giddy myth-making. The record wears its name for a reason. They want the big ugly whole.” [Review]

Greg Jamie – Across a Violet Pasture

Orindal Records

“‘I’d get away from that body / there’s nothing left we can do / and if I ever come back from the country / I’m going swimming with you.’ So sings Portland, Maine songwriter and painter Greg Jamie in the opening lines of ‘I’d Get Away’, the first track from his new album Across a Violet Pasture. The cryptic, almost contradictory verse is a fitting introduction for a full-length which exists at the intersection of things. The real and unreal, the physical and spiritual, the personal, the historical and the mythic. One which does not so much blur the boundary between such categories as embrace their duality, the real world punctuated with high strangeness and vice versa, the known and unknown superimposed. The result is undeniably weird yet intrinsically human, demonstrated by an opening verse where the image of floating away from the body is paired with the pleasure of floating within it. As though to exist is to both long for transcendence from corporeal reality and desire an unending experience of bodily sensation. We want to feel forever, yet wish for something more.” [Review]

Hannah Frances – Nested in Tangles

Fire Talk

“Released in 2024, Hannah Frances‘s album Keeper of the Shepherd represented an act of exhumation, digging through the remnants of the past to unearth those things which had long been lost. The process led to no small amount of dirt under the fingernails and demanded a fundamental vulnerability, something Frances happily endured in order to undertake this vital process […] Frances’s new album Nested in Tangles plays like the thicket of flora which sprouts from the ground broken by its predecessor. The life brought forth from turned-over earth. A diversity present not only in theme or tone but style itself […] A healthy and fulfilling life is never just one thing, a monoculture neat and constant and happy, but rather an ecosystem of moods, periods and personas. A place where our different selves coexist and even care for one another, and there’s space for every shade of shadow and light.” [Review]

herbal tea – Hear as the Mirror Echoes

Orindal Records

“The recording project of Bristol‘s Helena Walker, herbal tea takes the DIY intimacy of bedroom pop and expands outwards, building what might otherwise be humble demos into rich, nuanced soundscapes, as though the original basis of each track is merely a door through which entire new worlds lie in wait. The result is a sound rooted in the personal yet innately transcendent. An ethereal space not unlike a dream, stitched together from memories, desires and nostalgic longing yet impermanent by its very nature. A place, that is, removed from the physical demands on existence and thus the ideal vantage for self-reflection. One imbued with the weightlessness of flying or floating which offers the opportunity to examine the familiar without the everyday burden of the body.” [Review]

HLLLYH – URUBURU

Team Shi

“Anyone clued into the indie scene of the noughties will likely have encountered The Mae Shi, the outfit which delivered a blend of art rock, punk, pop and electronic sensibilities bundled up in a manic, madcap intensity, culminating with acclaimed Biblical full-length HLLLYH in 2008. The project has been through various stages of hiatus in intervening years, but now founding member Tim Byron has rounded up the original cast for a new album, URUBURU. Only when Jeff Byron, Ezra Buchla, Brad Breeck and Corey Fogel got together, the result felt less like the last chapter of the Mae Shi and more like a fresh beginning. Hence a new name—HLLLYH. Described as ‘an end-of-the-world story written on a mobius strip,’ URUBURU shows HLLLYH have hit the ground running, displaying no let up from the infectiously inventive sound that won the Mae Shi so many admirers. ‘Built from bright colors and loud sounds, it is a puzzle to be solved written in English, Morse code, and machine language,’ as the band write of the record. ‘It tells several interconnected stories of punk house party disasters, young monsters in love, space travel gone wrong, adventures in other dimensions, showdowns with malevolent forces, and the never ending quest for meaning.'” [Review]

Hour – Subminiature

Dear Life Records

Collected from recordings captured on a variety of devices across more than two years of touring, Hour‘s Subminiature is less an ordinary live album than a celebration of the entire project. Led by the apparently inexhaustible Michael Cormier-O’Leary, the Philadelphia-based ensemble has established itself as a dynamic, ever-shifting entity over recent years, albums like Anemone Red, Tiny Houses and Ease the Work practising an inventive, curious style of chamber folk never content to stay in one place. Thus the form of Subminiature could not be more fitting, the release positioning tracks from all previous albums alongside new material and seeing the band shift from number to number along with the settings and venues. All in all, Jacob Augustine, Jason Calhoun, Em Downing, Matt Fox, Peter Gill, Lucas Knapp, Evan McGonagill, Peter McLaughlin, Keith J. Nelson, Erika Nininger, Abi Reimold and Adelyn Strei all appear, with Cormier-O’Leary the only constant. But spend any time at all within this music and it becomes clear that, far from losing something with the perpetual change, such fluidity is itself the very essence of Hour.

Jahnah Camille – My sunny oath!

Winspear

Jahnah Camille “has a knack for combining emotion and self-awareness,” we wrote of 2024’s i tried to freeze light, but only remember a girl, as the EP reached across genres to create a nuanced tone “entirely committed to the feelings being explored but never lacking a wry wrinkle to add that extra layer of personality.” With help from producer Alex Farrar (Wednesday, Indigo De Souza, MJ Lenderman), Camille’s latest release My sunny oath! takes this style to new heights, tapping into a freshly thunderous sound to capture the tumultuous experience of young adulthood. Shoegaze, alt-rock and grunge influences assert themselves more prominently, and while the same sweet and sour approach of its predecessor allows for both heart and sardonic humour, there’s a notable new edge to the tracks. A kind of self-defensive toughness that gives the sense of a young woman passing into a hostile world and coming to realise what it takes to survive.

JJJJJerome Ellis – Vesper Sparrow

Shelter Press

“Through a combination of saxophone, organ, hammered dulcimer, electronics and vocals, Grenadian–Jamaican–American artist JJJJJerome Ellis creates atmospheric, often improvisatory soundscapes able to disrupt the normal flow of things. Having had a stutter since childhood (the stylising of ‘JJJJJerome’ is a reference to the fact they most frequently stutter their own name), Ellis sometimes found it difficult to express themselves verbally while growing up, though soon found an outlet after discovering the saxophone in seventh grade. The creative practice which developed from that point of origin does not exist in spite of the stutter but in fellowship with it, Ellis developing into a multi-instrumentalist interested in how both stuttering and music can suspend or expand time, working to utilise this fact to further the artistic and thematic potential of their work […] Vesper Sparrow uses this as a framework around which to build something even more ambitious. A space carved out of the hectic every day into which the listener is invited, Ellis using the album as a kind of intermission within ordinary time where we might consider histories both personal and communal, as well as those of the natural world, and thus come to honour and understand ourselves more faithfully. Blackness is central to the record, as is lineage and spirituality, and the result is something which upends the linearity of experience to invite us back into the present.” [Review]

Jouska – How Did I Wind Up Here?

Koke Plate

“While the previous Jouska record Suddenly My Mind Is Blank was crafted from a notably polished electro pop, How Did I Wind Up Here? record sees [Marit Othilie] Thorvik favour something more textured, wrapping raw emotion with a gauzy style. The result, as [single] ‘Pierced’ shows, owes a debt to both dream pop and trip hop. A sound full of contradiction, somehow managing to conjure a sparse night time atmosphere without sacrificing any weight, and managing to pair emotional immediacy with an ambiguously dreamy drift.” [Review]

Kitba – Hold The Edges

Ruination Record Co.

“Proof that art can offer a picture of identity more nuanced than simple labels,” we wrote of Kitba‘s self-titled album back in 2023. “A deeper understanding reached via an embrace of confusion. Identity as an ongoing thing.” New full-length Hold the Edges continues and deepens this exploration of identity, the Brooklyn-based harpist and songwriter calling on a number of friends and collaborators to offer a typically lush, detailed and intuitive sound which works through a particularly tumultuous period while refusing to be dragged down. The path to self-discovery is not a finite number of epiphanic steps but rather something convoluted and unending, Kitba seems to understand. Full knowledge is always just out of reach. But while this might be frustrating in the present, it can be freeing across time, allowing skins to be shed, renewal to manifest, life to be leavened by an ongoing sense of possibility. “Am I enough to carry me through?” asks closing track ‘Cards’, showing that doubt will always be close by, but step back and consider the record, and it becomes clear Hold The Edges has provided the answer already.

Kristin Daelyn – Beyond the Break

Orindal Records

“’I used to hurry everywhere, / and leaped over the running creeks. / There wasn’t / time enough for all the wonderful things / I could think of to do / in a single day. Patience / comes to the bones / before it take root in the heart / as another good idea.’ So wrote Mary Oliver in her poem ‘Patience’, the principle inspiration for the lead single of Kristin Daelyn‘s Beyond the Break. ‘Patience Comes to the Bones’ introduces a collection of songs which looks to carve a space of reflection and peace within the tumultuous present, approaching the dissatisfaction and suffering common to us all from a decidedly compassionate angle. Supported by guest appearances from Dan Knishkowy (Adeline Hotel), Danny Black (Good Old War, Gregory Alan Isakov) and Patrick Riley, Daelyn’s soulful vocals and intricate, intimate guitar welcome the audience into the space so that we too might re-examine our lives from new angles and come to appreciate the fellowship to be found in the universality of longing.” [Review]

Lael Neale – Altogether Stranger

Sub Pop

Written after bouncing between rural isolation and urban rush for several years, Lael Neale‘s Altogether Stranger lives up to its title in more ways than one. “On returning to Los Angeles I felt like an extraterrestrial landing on a dystopian planet,” she explains, “so I’m writing from the perspective of a being from another realm witnessing the peculiarities of humanity.” Thus the ‘stranger’ of the title functions as both a noun and a verb, Neale approaching LA from an oblique angle, an alien who sees the city’s banality as bizarre and its absurdities even weirder. Clocking in at a succinct thirty-two minutes, the record seems to promise more of the tight, electrical minimalism established across previous LPs Acquainted With Night and Star Eater’s Delight, though in reality holds some of Neale’s most adventurous work to date. Because scratch the sleek surface and you’ll find a dizzying concoction of moods and influences, the album a mirror of the odd, alluring city which serves as its setting, enemy and muse.

Last Quokka – Take The Fight To The Bastards

Self-released

Not every band would kick off their new record with the story of an anticapitalist mihirung (a now extinct Australian bird also known as the ‘demon duck’ or ‘thunder bird’) tearing through the oligarch class of Aussie society. But Last Quokka are not every band. Woolworths, Woodside and favourite enemy Gina Rinehart all get their comeuppance at the hand of this vengeful living fossil within the first three minutes of Take The Fight To The Bastards, setting the tone for a record as fun and furious as anything the Perth punks have put out to date. Across the subsequent ten tracks we get diatribes against the insidious rise of identikit watering holes (‘Save Our Pubs’), condemnations of the greedy and their exploitation (‘Cost of Living’, ‘Out for the Weekend’) and even an ode to the queen of SW6 Sam Kerr (‘Stupid White Bastard’). The newly expanded line-up push the sound further than ever and give Trent Rojahn’s acerbic vocals the backdrop they deserve. We might live in disheartening times but, with the fire of Last Quokka behind us, retaliation starts to feel possible once again. As Rojahn sings on call to arms ‘Murujuga (DBH)’:

Disrupt Burrup Hub
And industry expansion
Take the fight to the bastards
And paint the town yellow
Take the fight to Woodside
Take the fight to Rio Tinto
Take the fight to BHP
Take the fight to the police
Take the fight to the bastards

Leanne Betasamosake Simpson – Live Like The Sky

You’ve Changed Records

“Our minds are spread out all over this place / full of persistence and surrounded by grace, / their starving lies are crumbling all around / but we belong to this sacred ground.” This verse, taken from the opening track of Leanne Betasamosake Simpson‘s latest album Live Like The Sky, not only encapsulates the spirit of the record, but illuminates the heart which drives the Michi Saagiig Nishinaabeg writer, scholar and artist’s work more generally. Like her novel Noopiming and more recent genre-bending book Theory Of Water, Live Like the Sky is both an expression of struggle and celebration of history. It confronts the violence and genocide of the White Western project and reclaims the lands it tried to make its own, all while documenting the catastrophes the colonial powers have brought upon themselves and offering modes of survival and resistance. The result is a castigation (‘Disintegrations’), an elegy (‘Nizhooziibing’), a practical manual (’85 Dollars an Acre’), a prayer (‘Minode’e’). A reminder of the interconnection of all things, and the dire consequences to be faced by those greedy or foolish enough to believe they can rule on their own. “Courage sits and smiles, breaks open the overpass,” Betasamosake Simpson sings on ‘Murder of Crows’. “She sings a hymn for the cars at the pipeline mass / the winds pick up and the snow falls from the lake in the sky / she packs up and drives on to the next lie / she sings no god no boss no husband no state / she sings to me with a murder of crows.”

Leilani Patao – daisy

Audio Antihero

“Starting in 2021 at the tender age of seventeen, Brooklyn (via Los Angeles) based songwriter Leilani Patao put out a series of DIY self-releases, culminating in the acclaimed 2024 album But What If? which earned, among other things, a feature on The Tonight Show starring Jimmy Fallon. But despite this success, Patao grew disillusioned with the biz, not an unfamiliar story within a contemporary music scene which demands not only on hard work in an artistic sense but an even greater degree of effort (and luck) be spent on self-promotion, algorithmic appeasement and any number of equally soul-destroying things. Many criticize this system but few take concrete action against it, which makes Patao’s new EP daisy all the more notable. A release which promises to shun streaming services, playlists and social media in order to focus on what really matters, and thus an experiment to judge what exactly is possible within the conditions of the twenty-first century. As Patao asks: “Is it possible to share my music properly, pay everyone who was involved, get paid myself,’ Patao asks, ‘and not have to interact with the many systems in place that make me dread music?'” [Review]

Léna Bartels – The Brightest Silver Fish

Glamour Gowns

“‘Only the brightest silver fish / Shows when the light hits,’ sings Léna Bartels on the title track of her second full-length The Brightest Silver Fish, out now via Glamour Gowns. The image might be a small miracle, over in a moment, or else a figment of the imagination caught from the corner of an eye. That we never find out which is typical of a record that does not so much mask its meaning as refuse to settle on a single answer. One caught within a series of dualities, be it between autonomy and inaction, startling beauty and the punishingly mundane, and thus open to a variety of interpretations. Even when, peering into the water later on in the track, Bartels believes she sights the fish again, the result remains ambiguous. Does the small, glinting creature she sees swimming with its family represent the possibility of the things most desired: freedom, connection, agency? Or only reinforce the opposite reality, where such ideals can only exist at a remove from our lives in their own watery, alien world?” [Review]

Lia Kohl – Various Small Whistles and a Song

Dauw

“As the artistically-inclined might deduce from the title, [Lia Kohl‘s Various Small Whistles and a Song] takes inspiration from Ed Ruscha’s Various Small Fires and Milk, a book released in 1964 which featured fifteen photographs of fires and one of a glass of milk, Kohl matching not only the structure of Ruscha’s work (the album offers fifteen whistles and one song) but also its playfulness and deceptive depth. The result is an attempt to convey the subtle textures of life in a way that feels at once incidental and carefully curated, and one that ultimately adds up to something far greater than the sum of its parts. The humble whistle, it turns out, is the ideal medium around which to build such a mission.” [Review]

Lily Seabird – Trash Mountain

Lame-O Records

“This album is dedicated to Trash Mountain,” Lily Seabird describes in her liner notes to the record of the same name. “A real place where I lived while writing and recording this record.” That real place is a house for artists and other creative types built on top of an old landfill site in Burlington, Vermont, somewhere which offered both the reliable constancy of home, especially via the like-minded community where Seabird would return after long stretches on the road, and a place of constant flux. This juxtaposition marks the record, Seabird facing up to the regretful pasts and uncertain futures by embracing change as a perpetual truth, though also coming to realise the anchoring stability that can be found in connection and community. “I don’t have hope for the oppressive systems that abandon us, but I do have hope in people,” Seabird says, a line that sums up the record perfectly. “Sure, the world is really messed up, but that doesn’t mean we can’t make something beautiful out of the garbage.”

Lisa/Liza – Ocean Path

Orindal Records

“’Ocean Path is a look back at the first songs I made in my teens and early twenties, including some of my very first recordings,’ explains Liza Victoria of the latest Lisa/Liza EP. ‘For me, it is a letter from my younger self.’ But more than an exercise in nostalgia, the release becomes a meditation on memory and personal change. The ways in which we shift over time, the ways we stay the same, and how we are constantly settling into who we are. ‘I wanted to be a musician, I wanted to share my inner world with others. And now I see where that lead me and feel gratitude for the path set out before me,’ Victoria continues. “Each song holds time between it, at least a year between each, love and memory, and different worlds of view, threads between them’ […] What results is the sense of witnessing Lisa/Liza form in real time, this early [release] already offering that magic, almost contradictory blend of the past, present and future Victoria has since mastered, able to offer sanctuary from the world without ever sacrificing the hope intrinsic to the act of looking forward.” [Review]

Lisa O’Neill – The Wind Doesn’t Blow This Far Right

Rough Trade Records UK

“Some terrors are born out of nature / Some terrors are born overnight / Some terrors are born out of leaders / With their eye on a different prize.” So sings Lisa O’Neill on the title track of The Wind Doesn’t Blow This Far Right. Consisting of handful of covers, original songs and a James Stephens poem reimagined as song, the release is at once timeless and contemporary. An album which pairs a rendition of ‘The Bleak Midwinter’ with Dylan’s ‘All the Tired Horses’, and places an ode to union organiser and activist Mother Jones near a meditation on the current housing crisis. But it is the title track which stays longest in the memory. A searing indictment of the state of the world and the rapacity from which it was born. “Natural disasters devastate and turn our world upside down,” O’Neill explains, “but it is the man-made greed-motivated unnatural disasters put upon our beautiful planet and it’s people that inspired this song.” Such malevolent forces seem to be gathering at pace across the globe, and music like this has never been so timely.

Little Mazarn – Mustang Island

Dear Life Records

On their third LP, Little Mazarn branch out from their primitive folk roots into something more experimental. The core tenets of their style remain, namely Lindsey Verrill’s distinctive vocals and Jeff Johnston’s singing saw, but now there are drums, synths and what the liner notes describe as “a chorus of orchestral oddities.” It’s a new and fitting entry into the canon of Southern outsider art, joining the work of countless other musicians, artists and writers which, although disparate in style, are united by a shared spirit. The result is something sparse and sombre and sincere, evoking the both the wide-open spaces of the band’s home state and something altogether more intimate. Grief and loss are major themes, and the record functions both as a kind of emergency valve to liberate these big feelings and a reminder to hold on to them. “I built a gate for my grief to go freely,” Verrill sings on ‘The Gate’, in a line that captures the entire album, “I’m not meant to contain wild horses / I see them run and I feel their hot breath, alive. I can’t pen them in and I can’t let them go.”

Living Hour – Internal Drone Infinity

Keeled Scales

“Almost didn’t take a photo / But I’m happy that I did / Cause it melted all around me / When I crossed across the bridge.” So sings Living Hour‘s Samantha Sarty on ‘Things Will Remain’, the closing track of the Winnipeg outfit’s fourth album Internal Drone Infinity. Or rather, so sing Living Hour as a whole, the verse delivered with a communal conviction that underscores its importance to a record all about the small beauty and slow pain that constitutes the passage of time. Internal Drone Infinity is the perfect example of “what the band themselves have coined ‘yearn-core’,” as we wrote in our review, “[combining] slowcore, indie rock and dream pop into something shaded by the gauzy texture of memory,” though it hurdles the saccharine nostalgia which can sometimes haunt such music with a shapeshifting sound that isn’t afraid to push into heaviness or intensity. Because while the project is wistful by its very nature, there’s a harder truth inherent within it too. An awareness of entropy. The immutable fact of change. The knowledge everything we have will break down and fall away. Living Hour are here to preserve what they can while it is still possible, but also do something more. An attempt to evoke this wider cycle in all of its messy reality, and come to find meaning in its perpetual, inevitable turn.

Mal Devisa – Palimpsesa

Topshelf Records

We first wrote about Deja Carr’s Mal Devisa back in 2016 with breakout album Kiid A personal record which “plays like condensed version of life,” we wrote, “reaching high and falling low, crackling and bursting and simmering under the surface, at times exploding in urgent streams of consciousness as if the words and thoughts can no longer be held in […] It’s not jazz or gospel or indie rock. Kiid is everything. Kiid is whatever it wants to be.” We might be almost a decade down the line from that startling debut, but latest album Palimpsesa shows that Mal Devisa has only grown in the interim. Eschewing genre conventions to touch on everything hip-hop, jazz, folk and spoken-word poetry, this is an album which manages to surpass the fizzing energy of its predecessors. Verbose but also rhythmic, experimental but never ostentatious, Palimpsesa plays like creation of an artist at the height of their powers, but then again we thought that nine years ago, only for Carr to prove she could reach higher still.

Michael Beach – Big Black Plume

Goner Records / Poison City Records

“Did the sea come near / When you held the shell to your ear? / Did you hear the sound of the tide / Coming or going? // “Did you smell the scent of the brine / In your blood flowing / Or did you hear / The desperate lonesome wind blowing?” So asks California-born, Melbourne-based songwriter Michael Beach on ‘The Sea’, the opening track of his fifth full-length album Big Black Plume. The lines serve as a fitting introduction to a record grounded within our present moment, a reality in which any experience of wonder or joy we might find within the natural world is shadowed by an ubiquitous sense of mourning, and the true cost of humanity’s avaricious folly is coming to pass. But rather than succumb to despair, Big Black Plume pushes further through this cataclysm and emerges with something startling. “While there is an undeniable darkness [to Beach’s work], it is often sublime in nature, and certainly anything but nihilistic in its intentions,” we wrote of the album earlier in the year. “A fact made clear by new record Big Black Plume, which works with perhaps the only form of optimism left. ‘I was wrestling with the beauty and intensity of the natural world and coming to grips with the human destruction of it,’ as Beach explains. ‘I have an overwhelming sense that humans will come and go, and the world we depend on will outlast us.'” This is the soul of the record. One of both unfathomable loss and determined perseverance, where only a reconnection with nature and all of its systems might allow us to transcend the cursed fate we have carved for ourselves, or at least grant the solace of nature’s sure continuation after we are dead and gone. “There are countless ways for disaster,” as Beach sings in the closing title track. “The dreaming of the natural world will go on.”

Mourning [A] BLKstar – Flowers of the Living

Don Giovanni Records

“Released to coincide with the project’s decade anniversary, Mourning [A] BLKstar‘s Flowers of the Living sees the Cleveland-based Afrofuturist collective draw on every ounce of creativity and expertise gained across the years, resulting in a sound that’s intricately detailed yet confident enough to spread its wings and take its time. ‘Not only does space represent stillness, contentment, and mindfulness, it’s also the fulcrum of collectivism and free expression, and a key tenet of the Black ecstatic lineage,’ as the press release puts it. ‘Space has always been politicized, and to view it from a place of abundance rather than scarcity, even in a conceptual sense, is a rebuke of fascist oppressors and an affirmation of love and self-belief.’ MAB hold this sentiment as a mission statement, the album defiant in every sense, from its refusal to restrict itself to any single genre convention to its unbridled invention and confidence.” [Review]

The Noisy – The Secret Ingredient is Even More Meat

Audio Antihero

“A deluxe edition of the project’s debut album The Secret Ingredient is More Meat, [The Noisy‘s The Secret Ingredient is Even More Meat] casts a wide net for its inspiration, drawing on a whole range of cinematic and literary influences as well as the ideas which underpin and support the drag and queer communities. The result is inherently personal yet larger than any one life, lead Sara Mae Henke evoking the true dimensions of their interior with songs that can be televisually glitzy (‘Twos‘) or as intimate as a home movie (‘Grenadine‘), and moreover songs unafraid to delve into the most individual of subjects in order to locate more universal truths (as with ‘Nightshade‘ and its examination of difficult relationships). The superstitious ‘Ballerino’ and its Suspiria-inspired video by Ewan Hill collect all of these ideas together into under two minutes, celebrating all sides of an identity while working through memories and learning to love the past while focusing on what is to come.” [Review]

Okkung Lee – Just Like Any Other Day (어느날): Background Music For Your Mundane Activities

Shelter Press

“Just Like Any Other Day (어느날): Background Music For Your Mundane Activities by Okkyung Lee sees the South Korea-born, Berlin-based cellist and improviser reject the established tropes and signifiers of experimental music and thus magnify its creative potential. A style which, per the album notes, sits ‘at the juncture of ambient music, minimalism, and the baroque’ but is not beholden to established pattern or language, forcing both artist and audience to reckon with each composition on its own terms and nothing else. And yet, for all these ambitious intentions, the result is not some exercise in avant garde excess, be that ostentation or confrontation, but instead something tactful, modest and intuitive. The sonic equivalent of the title’s ‘any other day’, where apparent ordinariness is revealed to contain the multitudes of memory, longing and latent emotion which comprise each and every spin of the earth.” [Review]

Patrick Shiroishi – Forgetting is Violent

American Dreams

“It is fair to say multi-instrumentalist and composer Patrick Shiroishi is unafraid to broach big themes. Previous releases like Descension, Hidemi and I was too young to hear silence have all in one way or another revolved around the internment of Japanese-Americans, but new full-length Forgetting is Violence takes things even further. [The album] considers, amongst other things, racism in a wider sense. An attempt to wrestle with the phenomenon as both a historical fact and contemporary shame, and furthermore one which confronts the impossibility of living in this world without participating in its ongoing function. Acknowledging that if the desire to eradicate another is something allowed into the world, then no aspect of a culture can be said to exist above or beyond it. A truth more apparent now than ever as genocide is televised in real time.” [Review]

Pickle Darling – Bots

Father/Daughter Records

It might be tempting to view Bots as metamorphosis of the Pickle Darling project. In fact we did just that back in June, describing how New Zealand-based producer and multi-instrumentalist Lukas Mayo decided to channel Robyn, Cher and Ray of Light-era Madonna for single ‘Massive Everything’, dropping some of the playfulness and poetry of previous releases to instead “embrace the exhilaration of being wholly direct.” Subsequent single ‘Human Bean Instruction Manual’ complicated the picture, stretching the definition of direct with a sprawling seven minute slice of fuzz pop. “This new era of Pickle Darling does not jettison the idiosyncratic charm which has won the project so many fans,” as we wrote. “Nor does a commitment to forthright communication elide any sense of ambiguity. Indeed, this is a song all about such ambiguity, and how learning to embrace the doubt inherent within growing up in this strange present.” Spend any time with Bots and you’ll come to see it is less a revolution than the next chapter in a story Pickle Darling has been building from day one. An album willing to embrace contradiction—between old and new ideas, familiarity and foreignness, even the joy and frustration of making art—and in doing so go further than most to evoke the feeling of being alive in 2025.

Ruby Gill – Some Kind of Control

Self-released

“I had been grappling with what it meant to have all and no control over my time and body—all at once,” so explains Ruby Gill of her second album, Some Kind of Control. A record marked by what she describes as “cheekier, looser, gayer and even more raw” style, embodied by ‘Touch Me There’. “[A song] which examines the body in ways both intimate and political, embracing the queer experience both as a means of personal fulfilment and as a wider radical force,” we wrote in our review. “This duality is evoked by the interplay between Gill’s searching delivery and the communal backing chorus which sees the likes of Annie-Rose Maloney, Hannah McKittrick, Angie McMahon, Hannah Cameron, Jess Ellwood and Olivia Hally (of Oh Pep!) all lend their voices. The result is the sense of a call being answered. A single voice echoing back as a community.” [Review]

Sam Moss – Swimming

Self-released

“Stuck in the past / But somehow living / Out of my depth / But somehow swimming.” Four succinct lines from the title track of Sam Moss‘s Swimming capture the album’s essence, as the Virginia-based guitarist and songwriter embraces contradiction in more ways than one to create what might be his strongest release to date. The warm, ostensibly modest arrangements seem to deepen with each listen, not least thanks to the careful additions from a supporting cast of Isa Burke, Jake Xerxes Fussell, Sinclair Palmer, Molly Sarlé and Joe Westerlund. Moss’s lyrics and delivery follow a similar pattern, their gentle fondness belying the intensity beneath the surface. The result is something of a paradox, though one which feels entirely natural. A folk album that is humble in tone yet existential in nature, one drawn with a careful hand that nevertheless reaches for the full spectrum of emotions life inevitably brings. Dip a toe into Swimming and you will feel a pleasant warmth. Submerge yourself within it and something far more urgent will be revealed. “There’s no seasons left that matter / There’s no days, only hours,” as Moss sings on the closer. “And there’s so much to gaze at / In this world.”

SG Goodman – Planting by the Signs

Slough Water Records / Thirty Tigers

SG Goodman‘s Planting By The Signs takes its title and philosophy from the Foxfire books, a series first published in 1972 which aimed to pass on the collected wisdom and history of Appalachian life. The phases of the moon, this volume suggested, have a notable impact on our earthly endeavours, so anyone looking to undertake a task, be it planting a garden, weaning a baby or writing a folk rock album, would do well to align their efforts with the lunar cycle. Goodman’s record, easily one of the strongest released this year, seems to support the utility of this tradition, or at least the wider reconnection to the natural rhythms so often buried within our hectic, fatally human present. Written in a period of great loss, and helping to facilitate a process of reconciliation, Planting By The Signs is a highly personal album about the most universal of themes. Grief, love, God. The suffering of poverty and the dignity of those made to bear it. Not to mention that bond we share with the wider environment, a truth of life whether we like it or not, and the responsibilities of stewardship which result. There’s no small amount loaded into these songs, take the principle image of ‘Snapping Turtle’, where cruelty is met with a fury fit to match that of Christ in the temple, anger which only exists because of the compassion which burns underneath. This aching fondness for all life permeates all the tracks and culminates in the playful, crushing, transcendent closer, ‘Heaven Song’.

Shallowater – God’s Gonna Give You A Million Dollars

Self-released

If ever there was an album built to evoke a specific place, it is Shallowater‘s God’s Gonna Give You A Million Dollars. Following on from their acclaimed debut There Is A Well, the Houston outfit doubled down on their self-described ‘dirtgaze’ aesthetic to capture the sweeping landscape of West Texas. Six tracks of crushing weight and panoramic space where the stillness of distance is shot through with dust storms and squalls of violence. ‘Sadie’ is one of the highlights, a song loaded with images as stark and foreboding as the sound itself, its lights in tornadoes and dust covered angels speaking to the mythos of a record keyed into the sublime, though also offering a surprisingly tender meditation of grief that ties the personal into the elemental heft which surrounds it.

Snocaps – S/T

ANTI-

Way back when, before Katie and Allison Crutchfield won hearts via Waxahatchee and Swearin’ respectively, the Alabama twins played together in the beloved yet short-lived P.S. Eliot. In the wake of personal success, diehard fans have called for a reunion, though the Crutchfields are too wise to believe there’s any chance of going home. Snocaps is the alternative, a project with MJ Lenderman and Brad Cook which sees Katie and Allison reunited without forgetting the history in between, the pair taking turns to pen songs about all the obstacles on the road to the present moment, as well as the convictions which have kept the wheels turning all the same. “Give me shit while you can’t see straight,” goes the final verse of opener ‘Coast’. “I got the pedal on the floor / Or I’m slamming on the breaks / I could never just coast.” A simple reunion might have been the easy route to take, but since when has the easy path been true?

Soup Dreams – Hellbender

Candlepin Records

“Storm flooded the freeway / It thundered almost all day / Crying on the street in my hometown / Trapped in the car, the rain coming down.” This image, taken from a verse in opening track ‘Wonderdog’, captures something essential of Soup Dreams‘s Hellbender, the Philly outfit reaching across indie rock, emo and alt country to create a sound that’s nostalgic, emotive and intimate, yet nevertheless charged with a roiling energy. Comparisons will inevitably be drawn to contemporaries like Waxahatchee and Wednesday, with lead Emma Kazan’s lyrics falling somewhere between the unguarded confessions and sardonic bite of the two, though to reduce Hellbender to its influences is to underestimate what is one of the very best debuts of the year. One of heart, subtle humour and bite which captures the tenderness and desperation of solitude without losing the ever-thundering tumult of the world outside.

talons’ – in retreat

Self-released

“There’s a lot about the Covid era that I can’t get past,” says Mike Tolan (aka talons’) in the liner notes to latest album in retreat. “It changed me and largely not for the better.” The project has always been something of a raw wound, conjuring an air of desperate melancholy devoid of any romance or melodrama, but even so, this record feels different. Recorded live to tape at home with all the imperfections left in, this is a dispatch from a troubled mind during troubling times. Songs marked by the kind of quiet despair which descends at the dead at night, the anxiety of the contemporary moment matched only by the deadening suspicion things are only going to get worse. As Tolan concludes: “Things are not OK. The near future is bleak, but we’ve gotta dig in and grind it out for the kids.”

Tan Cologne – Unknown Beyond

Labrador Records

“The music of Taos, New Mexico duo of Lauren Green and Marissa Macias, otherwise known as Tan Cologne, has long probed at the intersection of the physical and ethereal, a style established on 2020’s Cave Vaults on the Moon in New Mexico. ‘Orbiting around the the titular state, the record excavates the physical and metaphysical layers of the specific location,’ as we wrote of the album in our review, ‘digging through strata both natural and supernatural in attempt to represent New Mexico in all its strange, stark beauty’ […] Tan Cologne’s latest full-length Unknown Beyond represents both a continuation of this style and a broadening of its horizons. Almost literally, in fact, with Green and Macias turning their attention skyward with the same curiosity, openness and longing which has always underpinned their work. Their search is driven by griefs personal, communal and global, the songs written in the wake of bereavement amid a country, indeed a world, on fire in more ways than one.” [Review]

Tobacco City – Horses

Scissor Tail Records

Chris Coleslaw, Lexi Goddard and pals make country music that has one foot in the golden-hued past and another in the painfully real present. This is true both in terms of the Tobacco City sound, which freshens up classic seventies country (think Emmylou and Gram) for the modern ear, and its lyrics, which compound the often confusing, disappointing and bittersweet nature of the present day with a yearning gaze at the past. Horses moves from good-time toe-tapping euphoria to solemn late-night longing, and spans comforting nostalgic familiarity to a manic desire to leave the depressing desolation of small-town existence. This is achieved principally through a focus on small snapshots of bygone days. Seemingly mundane moments where boredom breaks its levee and becomes something of its own rush, where the dissatisfaction of cooped-up small-town living is tempered by time’s unhurried passage. Here, the future is not some dark unstoppable force rushing toward you in a clatter of hoofbeats, but something intangible, indistinct. Something to worry about tomorrow.” [Review]

Tuxis Giant – You Won’t Remember This

Worry Bead Records

“You Won’t Remember This both continues the themes explored across [Tuxis Giant‘s] previous albums and expands their sonic palette. But more than a lesson in testing the borders of a project, the invention and experimentation serves its ultimate intention. That is, to paint a picture of life as it is lived, a full spectrum of moods, the shades shifting day to day. And moreover, something experienced not only as the immediate present but also a constant retrospection, memories appearing, merging and changing as the months pass by, each colouring our outlook at any given moment. The album’s most autobiographical song ‘Heart Surgery’ encapsulates all of this in one track. A retelling of the day lead [Matt] O’Connor’s mother underwent the titular operation, complete with stark emotion, naked concern and the small funny details which pop up no matter how serious the occasion. But it is also a meditation on memory. The things we remember, the things we do not, and how both of these might haunt or protect us as we grow and heal.” [Review]

Weakened Friends – Feels Like Hell

Don Giovanni Records

“Back in August we introduced Feels Like Hell, the new album from Weakened Friends [on] Don Giovanni Records, with single ‘NPC‘. What we called ‘a decidedly existential track featuring guitarist Buckethead inspired by the reality-bending simulation theory,’ though one rooted in a very real, contemporary struggle. ‘Far from some exercise in idle sci-fi daydreaming, the song is urgent, defiant and cathartic,’ we described. ‘Fatalistic, but delivered with the kind of full-throated passion that can only exist in those still with the spirit to fight.’ This attitude is the cornerstone to Feels Like Hell, the record representing a rejection not only of the myriads of forces which make our current culture so bleak and painful, but the all-too-common apathy with which so many react to such conditions. A collection of spiky, confrontational and cathartic songs, notably different from the tone of the Portland, Maine outfit’s previous LP Quitter. ‘Every soul-destroying facet of our present moment is used as fuel on the fire,’ as we continued in our preview. ‘The hegemony of global capitalism, complete with its mass surveillance, environmental destruction and rampant inequality, is enough to drive anyone to despair, but Weakened Friends are determined to deny it that one last victory. Better to scream, yell, bring the whole thing crumbling down with us.’” [Review]

Weirs – Diamond Grove

Dear Life Records

“[Diamond Grove by Weirs is] a repertoire of classic songs so indebted to the particular conditions of the moment that they have never sounded quite the same before, and likely never will again. ‘We wanted Diamond Grove to be a record in the truest sense,’ as [lead Oliver] Child-Lannin describes in the liner notes. ‘A living document of a specific time, place, and gathering of friends. Recorded in farmhouses, fields, and an abandoned silo, it channels the spirit of traditional music as a shared practice, alive with the sounds of its surroundings.’ The result owes more to musique concrète than the crisp, professional recordings of the folk revival. It is up for debate whether this represents a stylistic leap for the genre or a circle back towards an even older tradition, music delivered and enjoyed in situ. But to ponder whether Weirs exist in defiance or deference of their forebears is to miss the point completely. This is not an attempt to raze conventions, nor reproduce them. But rather imagine how folk could and should sound today. If the entirety of traditional music could be viewed as a series of specific moments threaded into a timeless whole, then with Diamond Grove, Weirs offer their own bead to add to the chain.” [Review]

Wilder Maker – The Streets Like Beds Still Warm

Western Vinyl

“Wilder Maker’s The Streets Like Beds Still Warm is a very different record to 2022’s Male Models. One even more ambitious in scope (it’s the first of a planned triptych to be released across the next eighteen months) and unique in its creation which nevertheless seems driven by the spirit of its predecessor […] Birnbaum has called The Streets… ‘the inverse of the typical songwriter record,’ the music recorded during open-ended sessions where core band members Adam Brisbin, Nick Jost, Sean Mullins improvised and swapped instruments at will, and guests including Katie Von Schleicher, Joseph Shabason, Macie Stewart, Chuck Johnson, Will Shore, Rebecca el-Saleh (Kitba) and Cole Kamen-Green added their own touches too, before Birnbaum took the result home and slowly whittled it into the form it takes today. The result, made possible by both a band now experienced in working together and a label in Western Vinyl willing to trust them, swaps the sleek psych and goodtime rock sensibilities of its predecessor for something altogether more stark and lonely, less a house party than a late-night wander through unfamiliar streets. Which is not to suggest minimalism, the sound owing much to experimental and alt-jazz forebears, but rather the presiding mood. One indebted to the shadow and subtle desperation of noir cinema, the perfect soundtrack as Birnbaum’s world-weary narrator flits between bars and hospital rooms while nursing concerns both trivial and existential.” [Review]

Will Johnson – Diamond City

Keeled Scales

Diamond City is Will Johnson’s tenth solo album and one that finds the legendary Texas songwriter’s style stripped back to the bare bones. Created at home in his Hays County farmhouse “in one room alone with his thoughts,” the record is inspired by the landscapes of both Johnson’s childhood in southern Missouri and the Texan Hills outside his window, painting a picture of the USA’s vast interior using initially just guitar, drum machine and an old Tascam 424. Once completed in this pure form, Johnson sent the songs to longtime collaborator Britton Beisenherz, who fleshed things out just enough, blowing on the embers of Johnson’s demos without smothering them in needless polish and ornamentation. The result is a new entry in the long and storied list of masterpieces created many miles from a professional studio, squirreled away in some corner with a tape recorder and something to say. Lyrically the album is poetic, fragmentary, even opaque, but viscerally emotive too, indebted to the pantheon of Southern writers from Faulker on down. Put simply, Diamond City is a reminder in the raw power of austere simplicity, that sometimes things are better without all their creases ironed out.

Will Stratton – Points of Origin

Bella Union

Set across the full breadth of California over a timespan of ten thousand years, you’d be hard pressed to find a more expansive record than Will Stratton‘s Points of Origin. The ambitious album is as detailed and crowded as an entire book of Where’s Wally? illustrations. Its cast of characters a Pynchonian smorgasbord of artists, con men, criminals, deadbeats and truck drivers, government men, snitches and counter-culturists, all inhabiting a world irrevocably altered by the presence of man. A picture of America before, during and after the imperialist project which has come to shape it, where fires and floods haunt the land as though in divine retribution, and a myriad of tiny struggles add up to the longest of wars. And, for the wild scope of Points of Origin, it is these tiny struggles which mark its true spirit. Each song intimate and detailed, a square inch of a picture too large to display, yet so richly imagined that they are able to evoke the full frame. Be it through the image of ancient hunters on snow-topped peaks or Vietnam attack choppers repurposed to drop flame retardant on home soil instead of napalm aboard, Stratton works with a hand careful, tender, heartbroken and seething, empathetic to the plight of his individual characters while damning the sum of their endeavours.

Wine Country – Hard Times

Self-released

“The liner notes for the debut Wine Country record, Hard Times, put the terms “written” and “composed” in inverted commas, a small gesture which speaks volumes. Because these are not songs finely wrought or painstakingly crafted brick by brick. Rather they just arrived, epiphany-like, [lead Matt] Kivel a willing lightning rod struck by a bolt of pure inspiration […] In the past he has drawn on cinema and literature, folk music and ambient music and experimental jazz. But here, in keeping with the overall vibe, things just flow where they want. Long, meandering pieces of psych-tinged art rock, improvisational lyrics that nonetheless feel charged with poetry and meaning. A testament to the value of committing to something without inhibition, and allowing the result to speak on its own terms rather than being edited and overworked beyond its proper shape. Hard Times is inspiration uncut. Not so much an attempt to communicate something otherwise incomprehensible as an embrace of the incomprehensible itself.” [Review]

Wombo – Danger in Fives

Fire Talk

“Feeling every inch the product of a band nearing ten years together, Danger in Fives finds the Wombo sound realised in its purest form, combining the experimentation and risk-taking which marked their earlier releases with the growing confidence so evident on Fairy Rust. That is, the sound of project which has come to understand its spirit and ambitions and is now committing to them with total conviction. ‘Danger in Fives isn’t a reintroduction’, as the press release states. ‘It’s a reminder’.” [Review]

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Building on the acclaim earned by Animal Poem, Anna Tivel is now set to return with a set of additional songs from the recording period. Fittingly titled Animal Poem B-Sides, the EP will not be released until next spring, though lead single ‘Swan Song’ shows the new tracks are just as evocative and finely crafted as their sisters on the main album. Described by Tivel as “a rumination on ephemerality and all the ways this life will move us before the whole thing flies away,” the song pairs a relaxed rhythm and poignant tone with something urgent beneath the surface, a loneliness hurried by the violent pressing of time. “The trumpeter swans leave the past in the fields / and head for a better unknown,” Tivel sings, “everything moving, a madness, an engine / flying down the road to forget that it’s ending / a star in the night is just air in the morning / up there burning alone / and you will be here ’til you’re gone.”

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“A small piece of the colossal, communal whole demanded of us. The imperative to celebrate life and warn of its fragility. To remind everyone of just what we stand to lose should the malevolent forces of this world be allowed to grow.” That’s how we described Anna Tivel‘s new album Animal Poem last month when writing about the lead single and title track. A grand statement perhaps, but anyone familiar with the folk songs penned by Tivel will know she always aims high. With the album forthcoming via Fluff & Gravy Records, latest single ‘White Goose’ is a track described by the artist as ‘a song about the way the natural world shapes our understanding—of life, death, truth and meaning.” The song embodies the spirit of the collection. An attempt to reach beyond the surface of the moment, be it made of petty grievance, mortal dread or chronic suffering, in order to connect to something deeper, richer and more fulfilling.

Watch the accompanying short film, directed Ryland Bouchard and starring Anastasiia Duvallié, below:

Animal Poem will be released on the 29th August via Fluff and Gravy Records and you can pre-order it now from the Anna Tivel Bandcamp page.

Caged Animals – Alligator

“Think JJ Cale scoring a Flannery O’Connor reading,” is how the press release describes ‘Alligator’, the latest single from Vin Cacchione’s Caged Animals. There’s a strong Canadian influence to the release—recorded with Jon Mckie in the Canadian Maritimes with Steven Lambke as a guest and released with You’ve Changed Records—but the song’s Southern Gothic vibe is decidedly American in flavour. A surreal tale of an encounter between two, contrasting Americas that only reinforces disconnection between them, delivered with Cacchione’s playful tones. “Well he was parked there to watch Daytona melt /  He had a pistol hanging off his derriére weighing down The Bible Belt,” as one verse goes. “I told him, ‘love dear is a superpower’ / And he just said, ‘love here gets hungry every hour’.”

The Cindys – Eternal Pharmacy

After a number of years recording complicated, challenging music under the moniker Birth Fury, Bristol’s Jack Ogborne yearned to return to something simpler and more immediate. Enter The Cindys, a brand new band led by Ogborne featuring Naima Bock, Finlay Burrows and members of Belishas which helps scratch this itch, owing more to the retro indie sensibilities of C86 and Flying Nun. With a self-titled mini album coming later in the year via Breakfast Records (UK) and Ruination Record Co. (US), The Cindys have shared debut single ‘Eternal Pharmacy’, a song inspired by Ogborne’s experiences as a touring sound engineer. “‘Eternal Pharmacy was written about the first proper European tour I went on,” he explains. “Seeing places I never would have been able to see otherwise, being spoiled by promoters with 3 course meals and unlimited drink, seemingly living a life of excess while simultaneously being totally broke. The song was an attempt to get a firm grip on the rapid change happening around me.”

Watch the video by Ogborne and Burrows below:

‘Eternal Pharmacy’ is out now, and the debut album from The Cindys will be released later in the year via Breakfast Records (UK) and Ruination Record Co. (US).

Drench Fries – Camera

“The solo project of Brooklyn-based songwriter and multi-instrumentalist Levi Nattrass, Drench Fries has carved out a niche within a country-inflected indie pop,” we wrote back in 2024, his work “offering equal doses classic western longing and a more coastal sense of brightness and pep.” Now Drench Fries are back and sounding better than ever with ‘Camera’, a song written back in 2019 but not quite coming to life until a full band got their hands on it. Enter Jason Altshuer (pedal steel), Evan House (drums), Alex Heubel (synthesizer), Stephen Vincent Ibanez Jr. (guitar, bass) and Sam Peterson (guitar), all getting behind Nattrass to bring to life the most rock-oriented Drench Fries track to date.

Eydís Evensen – Dimmuborgir

Living up to its title is the mission of Oceanic Mirror, the third full-length from Icelandic pianist and post-classical composer Eydís Evensen, forthcoming this autumn on XXIM Records. An album which looks to reflect the true power of the sea—its power, its depth, its constant movement and mystery—in order to push past the trivialities of contemporary existence and reconnect with the sublime of the natural world. Featuring renowned fellow Icelander Ásgeir singing one of Evensen’s poems, latest single ‘Dimmuborgir’ hints at the scale and beauty of the record, evoking not just the epic expanse of the ocean but also the themes of mortality and renewal it represents. Watch the suitably evocative video filmed by Einar Egils below:

Oceanic Mirror is out on the 10th October via XXIM Records.

FONTINE – Good Buddy

Winnipeg-based songwriter FONTINE is preparing to release new full-length Good Buddy this autumn via Birthday Cake Records and has released the title track as an introduction. Titled after CB radio slang for ‘gay’, the album plays like a series of dispatches from the road, be it touring her own project or as a collaborator with artists Boy Golden, Kris Ulrich, Begonia and Georgie Harmer, and plays with the stereotypes of such imagery. It sits at the intersection of big rig bravado and unashamed sentimentality, using a blend of good time rock and bedroom pop sensibilities to explore ideas of love, friendship and self-actualisation. The title track embodies the style perfectly, and hints at the record’s cathartic promise

In The Pines – Flyin’ Nowhere

Cincinnati psych outfit In The Pines have a slightly different origin story to most bands. The group run the boutique vintage pro audio repair shop Foleytronics, one of the few places in the world able to restore vintage digital effects, tape machines and synthesizers. As you might imagine, such a job accumulates a plethora of musical equipment. In The Pines’ forthcoming album Sunbeam Dream was recorded entirely with such hardware, the instruments and devices once destined for landfill salvaged, lovingly restored, then put back to use. The result is DIY in the purest sense, the band literally building their own sound in real time and working around (or, more aptly, embracing) the inherent limitations. The result bears the fruit of such a degree of control, as typified by lead single ‘Flyin’ Nowhere’ and its heady combination of energy, texture and detail.

Watch the video directed and edited by Adriana Noritz and Michael Shular below:

Sunbeam Dream will be released on the 12th September and you can pre-order it now.

John Calvin Abney – Last Chance

In September, Oklahoma‘s John Calvin Abney will release new record Transparent Towns on his own Tin Canyon Records label, via Well Kept Secret / Secretly Distribution. The folk artist’s seventh studio album, it was conceived during what he calls “a period of introspection and convalescence,” after undergoing vocal cord surgery. Forced to exist in near total silence, Abney used the quiet to delve back into his past, dwelling on the accumulation of small moments of both growth and loss that mark the passage of time. Lead single ‘Last Chance’ illustrates this perfectly, looking back at Abney’s Oklahoma youth and the then-unknown moment when beloved things slipped away. “When you come back to a love, a land, friends, family, or even a bar or a cafe that you spent a brief passage in, you’re never quite sure of the exact moment that marks the end of your chapter there,” he explains. “I try not to be these days, but sometimes I am caught dwelling in the space between now and then, thinking about where I stand today and those final seconds before everything became different.”

LUCKY – Falling Through

“A song full of backward looking despite its forward motion, resulting in a mood at once wistful and affirming.” That’s how we described ‘Traveler‘, the debut single from Bay Area supergroup LUCKY back in April. Consisting of Half Stack‘s Peter Kegler, Andrew St James and Zach Elsasser (Affectionately), the project utilises the experience and ideas of its cohort to bring its folk rock sound to life. Again released by Royal Oakie Records, latest single ‘Falling Through’ builds upon the style, a lesson in the value of intra-band chemistry which imbues its country rock sound with equal parts laidback swagger and earnest emotion. A track earthy and immediate but not without a certain wry self-awareness, especially in the near-spoken sections of the verses.

Lutalo – Cracked Lip

“Described as a time capsule of lessons learnt in their first chapter of life, the album sees the Vermont-based singer-songwriter delve into their past and invite the audience along for the ride.” So we wrote of Lutalo’s full-length album The Academy back in 2024, songs like ‘The Bed‘ and ‘Broken Twin’ highlighting the variation across the release. But the album only scratched the surface of what Lutalo has to say, something indicated by the new deluxe edition of the record which comes complete with four brand new tracks. With the release coming soon via Winspear, Lutalo has unveiled new track ‘Cracked Lip’. A song warm in tone but ambiguous in meaning, highlighting the project’s ability to combine abstract poetry with emotional immediacy. “The walls surround me / I’d like to think that I’m different from you,” as one typically cryptic verse goes. “Oh now you found me / I like to slip that salt in my shoes / And just move.” Watch the video by Noah Lenker below:

The Academy is out on the 19th September via Winspear and you can pre-order it now from the Lutalo Bandcamp page.

Snake Lips – Happy II

In recent weeks we’ve shared a couple of singles from Cat Beach, the new album from Portland, Maine outfit Snake Lips on Repeating Cloud. Both the hectic garage rock number ‘Thumbs Up’ and surf inflected ‘East Coast’ presented a band at the height of their powers, Cody Mitchell and co. burning through a myriad of hang ups and frustrations with good old fashioned rock energy (“There might be no means of fixing this predicament, but the song can remedy one part of it,” as we wrote of ‘East Coast’). With the record now out, Snake Lips have shared the album’s closing track ‘Happy II’ as a new single, and it seems wrestling demons via unapologetically raw indie rock might have therapeutic value after all. Because while the verses are essentially a list of regrets and apologies, the song turns into an expression of gratitude for the small (often four-legged) consolations that help us learn to accept ourselves.

But I’m happy where I’m at
I got the sunset and the dog in the yard
And my two best friends my cats
And I’m finally cool with me
I got the one I love, the dog in the yard
And my friends are hanging out
On cat beach

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Anna Tivel’s latest full-length Animal Poem , forthcoming later this summer on Fluff & Gravy Records, is not so much an answer to this question as one artist’s small contribution towards one. A small piece of the colossal, communal whole demanded of us. The imperative to celebrate life and warn of its fragility. To remind everyone of just what we stand to lose should the malevolent forces of this world be allowed to grow. As Tivel continues:

I think about being here. How brief it is. How incomplete our understanding. I think about history. All the worlds we’ve created and broken. Revolution and renaissance. Hope and humility. Everyone here is living a creative life—teachers and parents, kids and convenience store clerks. We’re all tasting this wild existence, finding ways to express how much it hurts and moves us. This work is my own small addition to that communal story. The water we swim in. The way our attention molds our truths. Humanity is unfolding as we describe it. We’ll never get it right, but the attempt is everything.

The first single and title track both introduces the tone of the album and serves as its mission statement. What Tivel describes as “a meditation on the stories we tell ourselves and each other” in order to persevere in a painful, disheartening present.

courage is a tired mom, milk crate and a cardboard sign
trying to find a story for her daughter
this is how the world exists, let me spin it for you kid
in a way that’s easier to swallow

Watch the video by Kale Chesney below:

Animal Poem will be released on the 29th August via Fluff and Gravy Records and you can pre-order it now from the Anna Tivel Bandcamp page.

Photo by Matt Kennelly

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The resulting songs felt rhythmic and vital, with more melody and soaring chorus than I’ve explored in the past. There was no way and no means to gather a full band, and I brought the songs to Shane’s doorstep knowing and fully trusting the skill and exuberance of his creative imagination. Shane stripped everything down to the studs and we rebuilt it together, just the two of us for a month in his garage studio, Shane dreaming up each sonic layer while I chased the lyrics to one last double chorus.”

Recent single ‘Disposable Camera’ introduced what to expect from the record. It’s a song every bit as finely crafted as anything on Outsider, displaying Anna Tivel’s signature talent to ride the eddies and rapids of a sentence to charge her lines with tangible life. “Nobody tells it like it is / they say don’t rock the boat and shut up kid / but that big black train is rolling,” she sings, words gathering momentum like an engine of their own, “and that deep down scream is growing / a hurricane come howling / a shot heard from the mountain / a blessing and a burden / i swear this will be worth it.” The song is one “for the everything of it all,” as Tivel puts it. “For the wild science fiction of coming into the world. For the way it will break your heart. For the way it will make it race.” Watch the video filmed and produced by Kale Chesney below:

taking a picture to pass the time
a disposable camera and sore eyes
you’ll be leaning your head in the half light
what a feeling to be alive

Coming just before ‘Disposable Camera’ on the tracklisting, latest single ‘Desperation’ can be viewed as a kind of prequel to its tenacious energy. The despair at ground zero, where the only way to process the sense of injustice is a mental escape.  “Close your eyes and go somewhere, the windy coast, the forest floor / an airplane, another world, a dream.” But as the song progresses it lifts itself, the sound of a beaten body rising from the canvas again, as if the mere spark of imagination was enough to convince it to give life another shot. “Future vision is forever married to imagination,” as Tivel puts it. “This is a song about being born into a harsh reality, about struggling to imagine something better than you’ve seen. Poverty, inequality, disenfranchisement—all these dark systems that devalue human capacity, crush human spirit and soul. To be born in that darkness, to see it mirrored all around you in the lives of everyone you love, is to read an unjust story about yourself that takes herculean strength to change.”

Living Thing will be released on the 31st May via Fluff and Gravy Records and you can pre-order it now from the Anna Tivel Bandcamp page.

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Hailing from Iran and now based in Paris, 9T Antiope has served as a vehicle for duo Nima Aghiani and Sara Bigdeli Shamloo to explore the unique difficulties of the expatriate experience. New album Horror Vacui lives up to its title to go further still. To live between two cultures is to never quite belong to either, to perpetually seek firmer roots in the present while fighting the fear of forgetting where you have come from, or even that place forgetting you. 9T Antiope address such dualities with a concept album almost cinematic in scope, and single ‘Shapeshift’ offers a compelling mix of haunting and alluring tones to welcome the listener through its doors.

Beti Masenqo – better than before

Following last summer’s debut single ‘much of anything’, which we described as a “delicate [and] often reflective folk [song] which ties together melancholy and joy with a wistful thread,” California songwriter Beti Masenqo is back with a new song, ‘better than before’. What she describes as “a nostalgic tune about loving someone who is plagued with uncertainty,” the track pairs an upbeat rhythm with another reflective tone, capturing a bittersweet mood which looks to shake free of doubt and look towards something brighter.

‘better than before’ is out now via streaming services.

Blitzen Trapper – Cosmic Backseat Education

Portland, Oregon‘s Blizten Trapper have been a significant force in indie rock for over twenty years now, and new album 100’s of 1000’s, Millions of Billions, coming this spring on Yep Roc Records, returns to the ideals which first fired the project into being to explore ideas of freedom and rebirth. With guests including Eric D. Johnson (Fruit Bats/Bonny Light Horseman) and Anna Tivel, the album melds earnest folk/psych rock with something more metaphysical. Lead single ‘Cosmic Backseat Education’ returns to the childhood experience of listening to the radio in the car, when music was nothing more than a source of joy. The video, directed by Mychal Sargent, offers a playful dimension, riffing off Mr Rogers and ultimately questioning just who is in control of the puppet/puppeteer relationship.

100’s of 1000’s, Millions of Billions is out on the 17th May via Yep Roc Records.

Crow Baby – Pity Party

Having both been raised in Johannesburg multi-instrumentalists Cherilyn MacNeil and Jean-Louise Parker formed Crow Baby upon being reunited in Berlin. Debut album Get Yourself Together will be released this spring, and if single ‘Pity Party’ is anything to go by, it’s going to be quite the ride. An ever-shifting track which never quite settles in any one shape, creating and undermining a number of moods and meanings, and ultimately leaving the listener to question the very ground beneath their feet. The result is something as clever as it is infectious, and as the triumphant chorus comes around, the self-pity is proven to be anything but.

Get Yourself Together will be released this spring via Duchess Box Records.

Grocer – Packrat

We’ve covered Philadelphia‘s Grocer several times in recent years, always appreciating the unapologetic chaos of their sound. Recent EP Scatter Plot felt like a band exploring the possible new directions such a style might take, and this spring sees Grocer return with their second full-length on Grind Select to capitalise on these gains. Evoking the sensation of “feeling stricken with the inability to make decisions and the procrastination paralysis of anxiety,” single ‘Packrat’ finds Grocer at their most collaborative, trusting in the bonds which have now developed between the members to make something far greater than the sum of its parts.

Hot Wheels – August

What do you get if you mix equal parts Brian Eno, Julee Cruise and Link Wray? LA-based painter and musician Dan Bruinooge, AKA Hot Wheels, has the answer with ‘August’, a new single on Earth Libraries. The song looks to add sixties surf and ambient sensibilities to nostalgic dream pop in order to bring to life a sonic representation of the culture and climate of California. But far from being a blissed-out image of Western sun and sea, ‘August’ sees Hot Wheels mine the landscape for all of its complexities and contradictions, where every instance of natural beauty is countered by gridlocked traffic, and apparently carefree summers are stalked by worsening wild fires.

‘August’ is out now via Earth Libraries.

Little Wings – Bubbles Go Pop

Kyle Field has recorded under the moniker Little Wings since the late nineties, pushing and pulling his folk rock sound into every shape imaginable while leaning into the joy of the ephemeral moment. A few years ago Antiquated Future tried to capture this ever-shifting style in one album with Sing Wide (Selected Songs 2002​-​2019), though true to the spirit of the project, Field has since taken the Little Wings sound onwards. New full-length High On The Glade will be released this spring on Perpetual Doom, and single ‘Bubbles Go Pop’ is every bit as idiosyncratic and inventive as you’d hope. With its ramshackle percussion and sing-song melody, it tells the story of a wild party in a zany vaudevillian procession befitting of a Pynchon novel. “The bubbles go pop,” as Field sings, “the laughter doesn’t stop / Effervescence grows into a roar.”

Night Hawk – Bedroom Waltz

Back in February we featured Night Hawk, the Brunswick, Maine-based project led by Colter Adams and Peyton Semjen. As we wrote previously, the pair work alongside “a rotating cast of band members […] to create a sound which evokes the Edward Hopper painting after which they are named.” After a slew of singles, the band are readying their debut EP, Everything Good Ends, and have just unveiled lead single ‘Bedroom Waltz’ as a taster of what to expect. It’s a picture of a relationship curdled by overdependence, depicted with both raw feeling and poetic grace. Cello and guitar weave across each other in somber patterns, while the percussion drives things forward towards the eventual cathartic climax.

In love with an addict
He works fighting fires
He gets paid in forgiveness
And he never gets tired

Trailer Dust – Sunday Morning (feat. Kelley Swindall) (The Velvet Underground Cover)

Taking inspiration from the likes of Sparklehorse and Sonic Youth and adding a country inflection, Trailer Dust is the new project of songwriter/producer, Greg Griffith. As if to highlight the success of such a marriage, Griffith has enlisted Kelley Swindall for a take on The Velvet Underground’s ‘Sunday Morning’. A version which swaps the dreamy drift of the original for something with more dirt on its boots. Griffith and Swindall’s chemistry is clear in the playful, carefree atmosphere, the song lifting towards its affirming conclusion as though gambolling in childlike wonder.

‘Sunday Morning’ is out now via streaming services.

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This summer sees Anna Tivel return with a new version of the album. Again release via Mama Bird, Outsiders (Live in a Living Room) is exactly what its name suggests. “Here are the songs from Outsiders recorded live and unembellished by the magic veil of production and band sound,” as Tivel explains. “Just my good friend Jon Neufeld and I in his living room with two acoustic guitars wandering through the stories as they were first imagined.”

What emerges is not only a new, perhaps purer version of the songs, but also a glimpse of two musicians attuned to one another. The spartan recording set-up conjuring the immediacy of intuition to grant the songs the tender resonance they deserve. As Tivel concludes: “We sat facing each other in wooden chairs, closed our eyes, and just let the songs be as they are.”

The latest single from the album, ‘Invisible Man’ highlights the different tone which results. Whereas the original album version is fleshed out with pattering drums and nuanced details, the new acoustic version strips things right back, and in doing so offers a new picture of vulnerability. “‘Invisible Man’ is a song about the fragility of the mind, how we’re all just one step away from losing it, by chemistry or circumstance,” Tivel explains, and if the original version had her singing through intruding details like a head of flitting thoughts, the new take is altogether lonelier. A song not so much fighting to keep its head above water, but rather mourning its position on the riverbed.

Outsiders (Live in a Living Room) is out on the 18th August via Mama Bird Recording Co. and you can pre-order it now.

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After following with poetic and urgent second single ‘Black Umbrella’, where misunderstandings turn a violent situation worse, Anna Tivel is back with the album’s latest track, ‘The Dial’. It’s a song which continues to develop the ideas of loneliness and otherness conjured by the record’s title, as well as the stubborn forces which underpin and accentuate such phenomena. “Outsiders is an album about looking more deeply into ourselves and each other,” as Tivel puts it, “really trying to see and examine the internal and external forces that keep us from connecting in real ways and the forces that draw us together.”

Where previous songs conjured bank robbers and far-away astronauts, ‘The Dial’ examines this from the perspective of a touring musician. A figure no less removed from the people around them, having to open themselves up to audiences of varying degrees of enthusiasm night after night yet always made to move on. “I wrote [the song] on the back of a gas receipt on a long drive from Utah to Colorado,” Tivel explains:

A car in front of me threw some trash out the window and when I got closer it turned out one of the items was a little dreamcatcher. I was at the tail end of a long tour, just feeling kind of raw and doubtful and it made me feel like throwing up my hands and laughing. Driving all over the place playing songs about my feelings for strangers is serious business to me, a deep devotion and a privilege. And it’s also sometimes totally nuts, like some hilarious simulation where you keep finding yourself peeing through a funnel drilled in the floor of a shitty van outside the place where you just poured your heart out in front of three drunk people who kept asking the bartender to turn the TV back on. I’m glad both things exist, the expansive and the humbling, and I’ll never toss my dreamcatcher.

The song comes complete with a video directed by Eric J. Loeffler and Tivel herself, with choreography from the main dancer Twyla Tharp and additional performances by Rose Marie Wright, Kenneth Rinker, Tom Rawe and Barry Nelson.

Outsiders is out on 19th August via Mama Bird Recording Co. and you can pre-order it now.

Photo by Vincent Bancheri

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Portland, Oregon songwriter Anna Tivel returns later this summer with brand new album Outsiders on Mama Bird Recording Co. Ahead of the release, Tivel has unveiled the lead single and title track to set the tone. A slow-moving, mysterious track nevertheless grounded in the human experience, looking to connect what seems faraway to our immediate situation. “I wrote ‘Outsiders’ sitting on the floor in front of the TV between fragments of the Apollo 11 documentary,” Tivel explains. “The news was feeling especially dark, full of pain and distorted truths, and watching all that beautiful footage from the ‘69 moon landing hit me right in the gut.”

Outsiders, look up
It turns out we are not so different

Check out the video by Eric J. Loeffler and Vincent Bancheri below:

Outsiders is out via Mama Bird Recording Co. on the 19th August and you can pre-order it now.

Badvril – Tall Sam

Badvril is the recording project of Becket Schroeder, a songwriter who draws inspiration from his time spent between rural Washington and San Francisco. New single ‘Tall Sam’ plays on this juxtaposition, balancing quiet lo-fi textures with heavier guitars, Schroeder’s reflective vocals wrapping the whole thing in a warm nostalgic charm.

‘Tall Sam’ is out now and available from all the usual places.

Kathryn Joseph – A Way From Rage

Fresh from her fantastic new record for you who are the wronged, Kathryn Joseph has returned with a version of Heir of the Cursed‘s ‘A Way From Rage’, dedicated to the memory of Beldina Odenyo Onassis and in support of the Mental Health Foundation. We first covered Joseph’s work back in 2015 with the album Bones You Have Thrown Me and Blood I’ve Spilled, describing it as a record about people “lonely and loved, corporeal and divine, mortal and terrified yet enduring with a resilient hope that never quite goes out.” The description could extend to this cover and the new record too, as both display Joseph’s understated and devastating style at the height of its power.

‘A Way From Rage’ is out now and available on the Kathryn Joseph Bandcamp page, where you can also find her new record, for you who are the wronged.

Lonely Uncles – 20 Million People

With album Mad Ashes on the horizon, Lonely Uncles have unveiled brand new single ’20 Million People’ to build anticipation. Following on from 2020 punk/electro-pop hybrid release Ex-Kidz, the track furthers the project’s creative art rock aesthetic, its sound a rich and fluid tapestry across which various styles of vocals move. From the zealous, preacher-style monologue of the middle section to the laidback lilt of the closing minute. Perhaps not quite twenty million people, but the track does capture a sense of multiplicity and movement to evoke the diversity of a population.

You can find Lonely Uncles on Instagram.

Martha – Please Don’t Take Me Back

Durham pop-punk four-piece Martha return next month with a new 7″ single, Please Don’t Take Me Back’. Released on the ever-reliable Specialist Subject Records, the song sees Martha continue to perfect their anarchic, fun and politically-conscious brand of pop punk. Rather fittingly for a week in which large swathes of the UK will be garlanded in red, white and blue in celebration of the imagined glory of a difficult history, the song is about rejecting the comfy allure of rose-tinted spectacles. “The past was absolutely terrible,” the band say. “Don’t get us wrong, the present is also absolutely terrible, but that almost instantly becomes the past anyway.”

Take me back to the old days
Take me back to the glory days we had
Take me back to the old days
No wait, don’t do that
I was really fucking sad
The old days were bad

Please Don’t Take Me Back is out via Specialist Subject on the 24th June and you can pre-order it now from the Martha Bandcamp page.

Midding – Figurehead

Having changed their name from Clwb Fuzz, Cardiff’s Midding have unveiled a brand new single as a kind of re-introduction. Titled ‘Figurehead’, it’s a slice of foreboding psych rock in which a languid dreamlike drift is interspersed by anxious acceleration, its shadowy western sensibilities offering an almost Lynchian vibe. “We’ve all matured (a bit) since and just wanted a fresh start,” as guitarist/vocalist Joe Woodward explains of the new moniker. “We will still be the same band, just in a different body. It’s like Clwb Fuzz was a caterpillar and now Midding is us transforming into some weird fucked up butterfly.” Check out the video for ‘Figurehead’ by Pypi Slysh below:

‘Figurehead’ is out now and available on streaming services. You can also follow Midding on Instagram.

M. Lockwood Porter – While We’re Here

We last wrote of Oklahoma-born, Oakland-based songwriter M. Lockwood Porter way back in 2014 with the album 27, though he has since continued to develop his country rock style. New single ‘While We’re Here’ sees John Moreland on bass, Jeremy Lyon on guitar and Ian Taylor Sutton on pedal steel, resulting in a warm and emotionally-charged exploration of grief in the wake of the death of Lockwood’s father. An attempt to communicate the new understanding gleaned from the process of losing such a fundamental part of one’s life, recontextualising everything and promising to continue with the hard-won wisdom only grief can bring.

While we’re here
Our little lives are everything we’ve got
We pretend they’re never ending, though they’re not
So chalk that up as one more thing you taught me
It’ll come in handy

‘While We’re Here’ is out now via Black Mesa Records and you can get it from the M. Lockwood Porter Bandcamp page.

quand il pleut – Altar

Seattle super duo quand il pleut have unveiled their new EP, Refuge, as part of Dance Cry Dance Records’ newsletter subscription package, Dance Cry Dance Break. Consisting of Natalie Bayne (Sound of the Hunter) and Matt Badger (Ravenna Woods), the pair layer discordant guitars and atmospheric synths to create a sound at once stark and triumphant. The EP comes packaged as a single 25-minute track, split into six distinct songs. Lead single ‘Altar’ is a reflective slice of this whole, its mournful vocals following the ascendant guitars into a cathartic close.

Refuge is out now for subscribers to Dance Cry Dance Break, and will be available publicly a year later.

Workhorse – Chain

Workshorse is the project of Adelaide songwriter and multi-instrumentalist Harriet Fraser-Barbour, who arrived on the scene back in 2017 with debut EP No Sun. The record introduced a distinctive style, combining the dusty nostalgia of American country music with slinky, shadowy dream pop that wouldn’t be out of place on a David Lynch soundtrack. In August, Workhorse will release their debut LP No Photographs on Dinosaur City Records, a record created during the initial 2020 lockdown when Fraser-Barbour set out to “experiment with creating band music as a solo musician.” The result is something tender, wistful and strange, influenced by queer. Check out lead single ‘Chain’ in the player below for an idea of what to expect.

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