Headlining the Ohio festival’s opening night, the Brooklyn band played with a looseness that felt like a single mind operating multiple instruments — a live force that refuses to replicate its records.
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Headlining the Ohio festival’s opening night, the Brooklyn band played with a looseness that felt like a single mind operating multiple instruments — a live force that refuses to replicate its records.
The Pittsburgh band’s third record trims a founding member and refines their noisy indie rock with a pointed look at capitalism and self-absorption.
New dates follow Fallon’s forthcoming album, with rapidly ascending indie band overpass joining as support.
After a bicycle accident shattered her elbow and delayed recording, Sadie Dupuis completes a set of 14 one-minute songs that began as a daily writing challenge during a period of personal crisis.
The Perth band recorded together in one room, trying to bottle the energy they harness on stage. The result is tighter, wider, and unafraid to step sideways.
Ella Williams returns with her fourth full-length under the name, anchored by the single “Reelin” and a sprawling tour schedule that stretches into late 2026.
The Boise band extends its fall itinerary with Quasi and bassist Melanie Radford’s solo sets supporting.
Johnny Lynch returns with an album that wraps themes of loss and failure in deceptively bright electronic textures.
The Los Angeles project led by Nick Anastasakis arrives with a limited edition 7-inch on June 16 that pairs two tracks built around the same conviction. Time is not to be managed or measured. It is to be met with presence and intention. The A side offers a reminder. The B side delivers a push. …
Mark Oliver Everett announces the sixteenth EELS studio album, pairing a worn-down lead single with a philosophy borrowed from Cookie Monster.
