indie
Kieron Tyler
Well, this is lovely. Pearlies opens with “I Was Miles Away”, a puffball of a sonic cloud which marries twinkling electronica with guitar-led shoegazing. It has a familial resemblance with the sort of thing perfected by Sweden’s I Break Horses, but lacks the frostiness. Here, there is a glow akin to that of a fire’s embers. Next, the vaguely bossa nova-ish and similarly exquisite “Bend the Round”.Emma Anderson was one-half of the front-line of Lush and her contemplative yet instant first solo album is brim-full of such gems. Take, at random, “Xanthe” with its giallo soundtrack undertone. What Read more ...
Liz Thomson
Recently recovered from her fifth bout of Covid, Thea Gilmore last night made a return to London’s Union Chapel, a wonderfully atmospheric venue where the price to pay for a concert is a numb bum (unless you remember to hire a cushion). For the first time since 2017, she stepped out with a band – Charlie Rachael Kay on bass, Jim Kirkpatrick on guitar, Olly Tandon on drums – playing to a not-quite-full house that was overwhelmingly white and appeared rather surprisingly old. It was a strikingly weird disconnect.The tour proper begins in January and this gig was presumably planned to coincide Read more ...
Jonathan Geddes
The first declaration of love for the Last Dinner Party arrived approximately one song into their set. “I love you too,” declared a delighted looking Abigail Morris, the band’s pirouetting frontwoman, in response, and the ensuing hour suggested outpourings of affection are just one of many reasons for Morris to be cheerful these days.This show had been upgraded from the considerably smaller King Tut’s Wah Wah Hut and yet filled up with ease, with a number of Glaswegians getting dressed up like Morris and her compatriots, whether in Gothic chic or Virgin Suicides esque dresses. Onstage Read more ...
Liz Thomson
The artist formerly known as Afterlight returns with her first self-titled album, a collection of songs which “delves into the cracks between the paving slabs of life's big themes” and which explores “the understanding that comes with experience”."Nice Normal Woman", the track, which opens the album, was inspired by a quote from Bette Davis in All About Eve (“write me one about a nice normal woman who just shoots her husband”) and it arrives in the world with an 800-frame stop-motion video attached, filmed by Gilmour in her bedroom.Having chronicled her escape from a toxic relationship in Read more ...
Kieron Tyler
In an interview following the release of Pale Saints’ March 1992 second album In Ribbons, the band’s Ian Masters expressed his admiration for Eyeless in Gaza, Laura Nyro and Television. He told Option magazine “I find it incredible how much I am moved by Laura Nyro’s songs and how much of the emotional input that she has translates. I find it quite disturbing – it’s uplifting and depressing and really has the full spectrum of feelings.”Of Television, he revealed “I’ve just been buying up old copies of [their debut LP] Marquee Moon and stacking them in my living room. Sooner or later, I’ll Read more ...
Thomas H. Green
Canberra band Teen Jesus and the Jean Teasers continue the recent tradition of Australian indie bands having unwieldy comedy names. However, their music, as laid out on their debut album, has higher aspirations, bridging their scuzzy punkin’ roots and a larger sound, loosely somewhere between The Breeders and Foo Fighters, yet very much their own thing.Sometimes they sail too far into mainstream rock for this writer but, overall, they win the day. The best of I Love You tends towards either catchy new wavey power pop guitar or snarling, sneering numbers vehemently raging at mistreatment in Read more ...
Mark Kidel
Sufjan Stevens, so we’ve heard, has just been struck down with a rare and immobilising disease – the Guillain-Barré syndrome. With characteristic courage and faith, he has thrown himself into physical rehabilitation. That he should be so reduced and challenged with suffering resonates perhaps with the extraordinary vulnerability that distinguishes his work – a unique avalanche of remarkable albums, generous and brave collaborations.Stevens is among the mean of his generation who find strength in opening their hearts, singing in a high register close to falsetto, and risking the pain that Read more ...
Mark Kidel
London’s Roundhouse is a very special venue. For decades the circular shed, with its elegant ironwork supporting structures has hosted a wonderful and varied series of performances. Like a great cathedral, the space has a hallowed feel about it. The culmination of a sold-out UK tour, PJ Harvey’s exquisitely paced and passionate set, as much pagan ritual as perfect entertainment, makes the most of this womb of a space.A womb, but also an alchemical vessel, in which this consummate artist works through a series of transformations, changes that reveal the many facets of her complex persona. She Read more ...
Jonathan Geddes
There remains something disconcerting about seeing the National as arena rockers. Perhaps it’s the nonchalant stage entrance as they stroll on, a far cry from the pyro heavy displays this Glasgow venue usually witnesses. Maybe it’s the unassuming stage attire, with frontman Matt Berninger adopting a smart casual look, or the sort of onstage chat that featured the group remarking on unusual time signatures in their songs.However this hefty set, clocking in at over two hours, was a reconfirmation of the band’s widespread appeal, and how, with little compromise, they have become comfortable in Read more ...
Kieron Tyler
Can there be too much repetition? Is there a limit to the level of rhythmic insistence which can be tolerated? Judging by the enthused reaction to this sold-out show from Mexico’s Lorelle Meets The Obsolete where a heads down, no-nonsense pulse propelled their set, the answer to these questions is no.Central to this display of musical determination are drummer Andrea Davì and bassist Fernando Nuti. Both are Italian. Neither are full-time members of Lorelle Meets The Obsolete though each has played on their records, including this year’s Datura album. Whack, whack, whack goes Davì. Thump, Read more ...
Kieron Tyler
Nothing Lasts Forever opens with a drone, a weightless prologue of guitar feedback evoking the initial moments of the Buffalo Springfield’s “Everydays,” written by Stephen Stills and heard on his band’s 1967 second album Again. Teenage Fanclub’s 11th album ends with “I Will Love you,” a similarly gossamer reflection fusing the atmosphere of The Beatles’ “Across the Universe” and the cyclic rhythms of motorik.While an airiness suffuses the mostly low- to mid-tempo Nothing Lasts Forever, it is impossible with Teenage Fanclub not to think of what could have inspired them, what they might be Read more ...
Kieron Tyler
“In the Light of Time” was the second track on Side One of April 1995’s Further, the third album by Bristol’s Flying Saucer Attack. At the time, Further felt like a hyper-vaporous take on shoegazing infused with touches of British folk. Attitudinally and temporally, Slowdive’s February 1995 third album Pygmalion wasn’t too far.Now, Flying Saucer Attack are co-opted to name In the Light of Time - UK Post-Rock and Leftfield Pop 1992-1998, a ground-breaking 17-track compilation with a self-explanatory subtitle. There may have been previous collections along these lines, but this is the first Read more ...