by Matthew Langham Birmingham quintet Swim Deep return with the follow-up to their 2013 debut record Where The Heaven Are We, a modest artistic success which helped the band gain a significant fan base and the attentions of major label Sony, when all things ‘90s were being snapped up left, right and centre. Mothers is a natural continuation from their baggy-influenced debut which featured hit track The Sea’. With the addition
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by Matthew Langham Toronto-born Meghan Remy, a.k.a. U.S. Girls, is now onto her sixth record, with Half Free being her debut on legendary indie imprint 4AD. Naturally compared to female contemporaries including Holly Herndon, St. Vincent and Grimes, Half Free follows on from her accessible experimental 2012 record Gem. The vast majority of Half Free is genuinely, startlingly different and this is also representative of the lyrics which are dark, evocative
by Matthew Langham Former member of The War On Drugs and multi-instrumentalist Kurt Vile has become one of the kings of the indie underground, a mainstay on year-end charts since his 2013 commercial hit album Wakin On A Pretty Daze – his fifth record since his 2008 debut Constant Hitmaker. That album saw a change in style towards a use of sun-kissed electric guitar riffs mixed with his distinctive mellow vocals.
by Matthew Langham Long gone are the days of indie rock hits from Toronto’s Metric. With old tracks including ‘Monster Hospital’ and ‘Gold Gun Girls’ they became a recognised name nearly ten years ago, if only as minor hangers-on to the indie scene throughout the mid-noughties, and were a reasonably consistent indie rock band capable of an enjoyably throwaway sets for early afternoon slots at festivals. Now onto their sixth record
by Matthew Langham As a 14 year old in 2004 I was hooked on The Libertines, so I must declare a certain bias, but also sense of dread at the prospect of Anthems For Doomed Youth. Fans knew that a third album looked like not only the most unlikely thing in the world, but also possibly one of the least desirable. However, 11 years long years after their flawed masterpiece
by Matthew Langham Founded by Jeff Barrett, formerly of Alan McGee’s legendary Creation Records, Heavenly Recordings is now into its 25th year and has seen a number of the UK’s biggest independent artists pass through its door. In light of the celebration, the label has released a celebratory compilation featuring artists from its current roster spread over two discs. This compilation, released on September 18th and entitled Heavenly 25 will feature
by Matthew Langham Too, the second album from L.A.-based FIDLAR feels like a concoction of every rock and roll cliché. Their debut record was a noisy depiction of the musician lifestyle. Alarming news recently surfaced of FIDLAR’s lead singer, Zac Carper, who had a crippling heroin habit due to a damaged childhood. Although the drugs and the chequered past have been toned down, their brand of garage rock blends indie rock
by Matthew Langham Following a whole quarter of a century on from their 1990 acoustic covers album Fakebook, Yo La Tengo’s latest release sees a return to the concept of influence with another collection of classics alongside a bunch of their own material in light of their 30th anniversary. Stuff Like That There, which takes its name from a song first recorded by Betty Dutton in 1944, sees a mixtape-style curation
by Matthew Langham Previously writing and performing as Columbus, Ohio-based trio All Dogs are this week’s release which has gone quietly under the radar, but one that comes highly recommended. Their first full full-length record Kicking Every Day is a colourful blend of power pop and early ‘90s American noise pop – think along the lines of The Breeders and Veruca Salt.
by Matthew Langham The second release from Mazes frontman Jack Cooper and James Hoare of Veronica Falls, who record as Ultimate Painting, is very familiar in sound and style to their 2014 self-titled debut. Taking their cues from impeccable indie influences ranging from Pavement to The Velvet Underground, their sound took shape after an elderly neighbour complained when recording sessions got too loud and forced the duo to reshape their
