Indierock | Alternative 377 Items

By most bands' fifth LP, the sound is pretty set. Parameters established. Refinement dissipated in favor of to-formula execution of what's worked in the past. Fair enough. All Them Witches go a harder route.

In 2017, the Nashville four-piece offered what might've otherwise become their own template in their fourth album, Sleeping Through the War. Also their second for New West Records behind 2015 mellow-vibing Dying Surfer Meets His Maker, it brought a larger production value to dug-in heavy psych blues jamming, with oversight from producer Dave Cobb (Jason Isbell, Sturgill Simpson).

After exploring new ground through their early work on 2013's Lightning at the Door and 2012's Our Mother Electricity as well as Dying Surfer, the band had arrived at something new, sprawling, and grander-feeling than anything before it.

So naturally in a year they've thrown that all to the Appalachian wind, turned the process completely on its head and gone the absolute other way: recording in a cabin in Kingston Springs, about 20 miles outside of Nashville on I-40, with guitarist Ben McLeod at the helm. Take that, expectation.

The result, mixed by Rob Schnapf (Beck, Elliott Smith, Kurt Vile), is the most intimate, human-sounding album All Them Witches have ever recorded and another redefinition of who they are as a band. Introducing keyboardist/percussionist Jonathan Draper to the fold with McLeod, bassist/vocalist Charles Michael Parks, Jr., and drummer/graphic artist Robby Staebler, All Them Witches' All Them Witche

It's the band confirming and continuing to develop their approach, in the shuffle of Fishbelly 86 Onions, the organ-laced groove of Half-Tongue, the tense build of HJTC and the fluid jam in closer Rob's Dream.

Its a reaction to being a bigger band. To playing bigger shows, bigger tours, etc. From the sustained consonants in Parks vocals to McLeod's commanding slide in Workhorse and drifting melancholy at the outset

Celebrate the end of 2024 with exclusive color variants from New West. All titles have been backordered or out of stock. These are all limited edition, one time color pressings. Get ‘em while you can.

Alycia Lang is a Durham, North Carolina-based singer-songwriter, touring musician and vocalist/multi-instrumentalist with Samia. Collaborators on her first full-length solo record, Speak The Word To Hear The Sound include Jenn Wasner (Bon Iver, Wye Oak, Flock Of Dimes) Lauren O'Connell, Damien Rice, Aaron Roche, BlankFor. Ms, and Adrian Olsen (Twain, Illiterate Light, Nadia Reid, Lucy Dacus).

You find Andrew Gabbard on the road and in his creative prime on this astral roadtrip, collecting songs like a cosmic traveler hitching a ride."Ramble & Rave On!," Andrew's third solo LP, sounds like the kind of weatheredtattoo you'd see etched on a barfly's forearm as he slams another drink in a dive.Like its title, the record feels like something that's always been around; a trustymixtape that everyone can agree on.Andrew comes to this collection of songs with something that very much feels like a`studio' record, the kind of album a 60s rock star feels like they've built theconfidence to make, to shake off a rawness for something fuller and more realized.The fact that this record was yet again a homemade effort, with Andrew playingeverything (apart from Sven Kahns' pedal steel), gives you an idea of how devotedand studied he is to creating that perfect song.`Ramble & Rave On!' is Andrew's most personal album yet, it finds him journeyingbetween his worlds as a decades-long touring & studio musician/vocalist for theBlack Keys, as a songwriter with his head-in-the-stars, and as the man in his homewith the people he holds dearest and with the studio where he brings it all together.It is clear that Andrew finds himself at this prolific point in his career completelybeholden to songs, to their absolute power, and to their otherworldly ability toconnect.He has mastered his craft, and proves throughout the course of this album that hecan truly make a pitstop stop at every genre.

Black & Clear Swirl.You find Andrew Gabbard on the road and in his creative prime on this astral roadtrip, collecting songs like a cosmic traveler hitching a ride."Ramble & Rave On!," Andrew's third solo LP, sounds like the kind of weatheredtattoo you'd see etched on a barfly's forearm as he slams another drink in a dive.Like its title, the record feels like something that's always been around; a trustymixtape that everyone can agree on.Andrew comes to this collection of songs with something that very much feels like a`studio' record, the kind of album a 60s rock star feels like they've built theconfidence to make, to shake off a rawness for something fuller and more realized.The fact that this record was yet again a homemade effort, with Andrew playingeverything (apart from Sven Kahns' pedal steel), gives you an idea of how devotedand studied he is to creating that perfect song.`Ramble & Rave On!' is Andrew's most personal album yet, it finds him journeyingbetween his worlds as a decades-long touring & studio musician/vocalist for theBlack Keys, as a songwriter with his head-in-the-stars, and as the man in his homewith the people he holds dearest and with the studio where he brings it all together.It is clear that Andrew finds himself at this prolific point in his career completelybeholden to songs, to their absolute power, and to their otherworldly ability toconnect.He has mastered his craft, and proves throughout the course of this album that hecan truly make a pitstop stop at every genre.

Was the lesson intended? It hangs like mist in the air And now the throne is upended And the lesson is the son and the heir

Was the lesson intended? It resonates in the sky A shockwave in the heavens Visible to the naked eye

Was the lesson intended?

Was the lesson intended? It has soaked into the ground It is felt in every movement And is audible in every sound

Was the lesson intended? It cannot be denied It rings loud like thunder Leaving our poets tongue-tied

Was the lesson intended?

Divine Comedy stands as a magnum opus crafted by two of theforemost composers of their era, boasting a musical ambition akinto Dante's poem and its visual interpretation by Sandro Botticellior Gustave Doré. For a long time, this triptych was presented as atwo-sided work in which Bernard Parmegiani's Hell and FrançoisBayle's Purgatory responded to and extended each other, guided byMichel Hermon's voice through the listener's imagination. BecauseParadise, a mixed piece co-composed and performed live, hadnever been released on record before. Indeed, fifty years after itspremiere, Paradise is unveiled to our ears, thereby rounding off thevery first complete edition of the Divine Comedy.- François J. Bonnet, Paris, 2023

Sleep off your summer with thiscomprehensive 36-song/4xLP overview ofKansas City's midwest emo pioneers. From1993-1997 Boys Life defined this anxiousstrain of heartworn power pop punk, issuinga pair of standard-bearing albums betweenendless circling of the U.S. DIY circuit.Collected here are their Departures andLandfalls and self-titled albums, singles, split7"s and 10", live tracks, and rare demo tape,all annotated and illustrated inside a 24-pagebook.

Sight Unseen White Vinyl.Sleep off your summer with thiscomprehensive 36-song/4xLP overview ofKansas City's midwest emo pioneers. From1993-1997 Boys Life defined this anxiousstrain of heartworn power pop punk, issuinga pair of standard-bearing albums betweenendless circling of the U.S. DIY circuit.Collected here are their Departures andLandfalls and self-titled albums, singles, split7"s and 10", live tracks, and rare demo tape,all annotated and illustrated inside a 24-pagebook.

Flour is the long-awaited, much-anticipated, full-course follow-up to Buzzsaws—Brower’s debut album from 2018. Sure, there’s been tasty snacks and treats to sustain folks along the way: several singles worth, and a totally authentic “Live” album. But this is the fresh new long-player platter you’ve hungered for.

Again, recorded entirely by Nat, at home and in the practice space (that is, various different practice spaces, due to unruly landlords) in Brooklyn. The recording project spanned several years due to touring, gigging, and rehearsing with the myriad of bands that form the Brower Cinematic Universe (including the live band, Brower; plus Josephine Network, Nancy, Metalleg, and The Wand-ers), not to mention working the many day-jobs it requires to barley sustain life in NYC.

Flour is benefited by this kind of “slow” practice, where time lends itself to exploration. One gets a sense of Brower’s freedom to stretch out and try new things, new instrumentation, and take a deeper dive into the songwriting always brewing between his ears.

In Brower’s kitchen, his recipe for Flour was created, tasted, tested, reworked, revisited, and rebuilt—from scratch—to the delight of the most choosy of rock ‘n’ roll gourmands and punk rock bon vivants. As they say, good food takes time. Now, once again, Brower is served.

Recommended IF YOU DIG! Lennon, Nilsson, Beach Boys, Sweet, or Elton Motello.

Formed in NYC in 2020 and now based in Seattle, "Bubble Tea and Cigarettes" is a dream pop duo consisting of Andi and Kat. Gaining attention for their successful Asia tour in 2023, this pair has completed their second album, "We Should've Killed Each Other." Their music, reminiscent of Cigarettes After Sex, Beach House, and Mazzy Star, features a beautifully ephemeral mood and reverb that enchants listeners, transporting them to another world.

Hamilton’s, Canada, five-piece returns this fall with their sophomore album, Sounds Like a Place. This twelve-song record has been a long time coming, with the initial recording at Toronto’s Union Sound Company back in the summer of 2022. Sounds Like a Place bears a mix of the industrial, electric hum of Capitol’s hometown of Hamilton and the shoegazey dream-pop that they’ve been leaning into since their debut single, 2017’s “English Girls”. This time heavily inspired by alternative indie artists of the 90s/00s and still tinged with a dash of 80s New Wave, the album weaves in and out of genre and decade. Though it retains the signature music-out-of-time abstraction that has pervaded their previous work, it is also defined with a new level of clarity. Just as every song is written as a memento of a moment or a feeling, Capitol hopes each new listen will become tethered to a time and, of course, to a place.