indie pop
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Mac DeMarco pares his songwriting down to something more minimal on Here Comes the Cowboy, losing a lot of personality along the way.
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Yesterday Baltimore duo Wye Oak released “Lifer,” the third single from their upcoming album The Louder I Call, The Faster It Runs. The LP drops next week via Merge and follows 2016’s Tween. The airy piano and vocals, and echoing guitar on “Lifer” may not stand out in the
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Alvvays’ sophomore album offers some of the best dream and jangle pop I’ve heard in years.
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The Mountain Goats’ latest is a gothic-themed concept album, a foray into the world of guitar-less music, and one of the greatest testaments to John Darnielle’s chops as a storyteller.
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4 years after Beach Fossils’ great sophomore album Clash the Truth, the Brooklyn band has returned with their most lavish effort yet. I can still commend the band for not shamelessly trend-chasing like many of their dreamy, jangly contemporaries, but unfortunately the pastiche of ’60s pop sounds they serve up
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Future Islands‘ second single off their forthcoming album The Far Field is yet another synthpop tune from the trio that just exudes a shit-ton of passion. And fittingly enough, the song’s accompanied by what must be the most emotive lyric video ever made. The Far Field‘s out April
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Spoon incorporates some strange experiments into their slick indie rock sound.
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While In Mind is Real Estate’s best-sounding album yet, the band still fails to provide anything beyond the surface of their blissful sound.
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Open Mike Eagle delivers a spaced-out rendition of They Might Be Giants‘ “Cowtown,” a cut from the duo’s 1988 classic Lincoln.
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A remarkably bold cut from Angel Olsen‘s forthcoming album My Woman, out September 2 via Jagjaguwar.
