The independent music journal has opened a rebuilt site, assembled mostly in evenings and weekends alongside a day job. The editor’s own account of the process is as much about the limits of doing everything yourself as it is about design.
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The independent music journal has opened a rebuilt site, assembled mostly in evenings and weekends alongside a day job. The editor’s own account of the process is as much about the limits of doing everything yourself as it is about design.
Nate Amos returns with The Singer in My Band, his third This Is Lorelei LP in three years. The songs came from long drives, but Amos refuses the road-record framing.
The Kansas City duo’s new full-length adds touring drummer Spenser Gralla and a live-trio heaviness without losing their scrappy melodic directness.
A newly surfaced collection of 1980s and 1990s show flyers documents how the District’s hardcore community spread its message through cut‑and‑paste visuals, political humor, and raw DIY energy.
The Los Angeles musician’s second release turns personal wreckage into a stripped-down, soulful battle cry that channels ’80s quiet storm and classic R&B.
A quiet release on his personal channel suggests that major label contracts might not completely domesticate the artist’s DIY habits.
Precious Pepala turns messy romance into sharp, theatrical pop-rock. Her new EP “Rosey” proves she’s one of the most distinctive new voices to come out of Sheffield in years.
The Chicago band’s debut album arrives not from a place of polished dreams, but from the resonant chaos of reality.
After nearly walking away from music entirely, Eaves Wilder returns with a sharper sense of what she actually wants to say.
The Walsall-born artist removed himself from the industry treadmill to build the uncompromising world of his debut album.
