Category: indie rock

New Audio: 5th PROJEKT Shares Brooding and Atmospheric “Oblivion”

With the release of 2022’s The Labyrinth EP and 2023’s The Wolf EP, Toronto-based psych rock/art rock outfit 5th PROJEKT — Tara Rice (vocals, guitar), Peter Broadley (bass), Sködt McNalty (guitar) and David Pake (drums) — made a name for themselves in the national scene: The Wolf EP debuted on the !earshot National Top 50, before climbing into the Top 25. The Wolf EP was also featured in Obscure Sound, Spill Magazine, V13, Canadian Beats, From the Strait and a collection of local and international publications.

Adding to a growing local and national profile, the band has received awards series of award nominations including The Ontario Independent Music Awards (IMAs), The Toronto Independent Music Awards (IMAs) and The Orange County Music Awards. They’ve also made a run of international festival circuit with sets at NXNE, Departure (f.k.a. Canadian Music Week), Indie Week, Kaleidoscope and Spirits of the Earth. And they’ve gone on two tours of Eastern Canada.

The Canadian quartet’s first live-off-the-floor EP Live in London is slated for a May 13, 2026 through the band’s own Organik Rekords. Recorded at London, ON-based The Sugar Shack, Live in London is part of the Incorrect Thoughts Live series.

The EP’s first single is a live rendition and reworking of “Oblivion,” a song that appeared on their debut effort, 2006’s Circadian. Live in London EP‘s take on “Oblivion” features a reimagined, slow-burning introduction, specifically meant to deepen the original’s hauntingly hypnotic pull while retaining the elements of the original that their fans loved: Rice’s ethereal and yearning delivery over a brooding slow-burning groove and shimmering and expressive, shoegazer-like guitar textures. And while reminding me a bit of Phantoms‘ 2013 effort The Fire Tapes, “Oblivion” showcases a band that specializes in cinematic atmospherics and enormous hooks and choruses.

New Video: Howling Bells Shares Bittersweet “Melbourne”

Since their beginnings, London-based, Aussie trio Howling Bells — siblings Juanita Stein (vocals, guitar) and Joel Stein (guitar) and Glenn Moule (drums) — have been a bit of anomaly: They relocated to the UK to pursue their dreams of making it. And then, they broke through a British indie scene of three-and-four-dude-wearing-skinny-jeans bands with their acclaimed, self-titled 2006 full-length debut. 

Those dreams of making it big actually became real: They played an NME Tour and then in stadiums opening for a Coldplay, while winning acclaim from the UK music press. 

Throughout their nearly two decade history, the band has gone through a series of lineup changes but some things have remained the same: the core trio’s deep, unbreakable bond and their hypnotic sound, influenced by Tom Waits, Sonic Youth, Nirvana, Fleetwood Mac and Björk. 

Howling Bells’ fifth album, Strange Life is slated for a February 13, 2026 release through Nude Records. The long-awaited album is the band’s first album of new material in over 12 years and was recorded with their longtime friend and collaborator Ben Hillier at Agricultural Audio Studios. The new album is reportedly both a vibrant document of and an exploratory testament to the alchemical magic between its core members. 

Late last year, I wrote about album single “Chimera,” a song that showcases Juanita Stein’s gorgeous and expressive vocal and the band’s knack for big hooks and choruses. Strange Life‘s latest single “Melbourne” continues a run of jangle pop-like indie rock with big hooks — but at its core is a confusing and familiar mix of yearning for the familiar and the grief over the tacit acknowledgement that the familiar can no longer be had. You can’t go back home again, as the novel says — and that’s often more true than not. And it’s all anchored in bitter, lived-in experience.

“‘Melbourne’ is a song about deep yearning and ultimately grief. It explores a unique inner conflict many of us feel when we leave our homes and families to start anew somewhere else,” Howling Bells’ Juanita Stein explains. “This aching can be especially intense when we’re faced with something traumatic and all we want is the safety and warm embrace of the familiar. I experienced a heightened version of this when I returned to Melbourne a few years ago to play some shows, having not been back for a while. It felt slightly surreal and tragic being there without any family to share this with, as they had also left Australia over the years. Then, within 24 hours of touchdown, I got a call from a hospital in England telling me that my father, who was ill, had taken a turn for the worse, and so I had to pack up and return to the UK before I’d even played a show. It was brutal. I felt a thousand things that day, from the physical weight of having to lug around 2 huge suitcases full of merch I was planning to unload, to sitting alone in tears at the airport in Singapore during the layover. All these experiences left me with a deep well of sadness and a longing to return to my homeland to find what it is I’d now lost forever. This is something I carry around with me every day. All it takes is the glimmer of the sun at a certain time of day, or the occasional scent of an eucalyptus tree, or the sharp twinge of nostalgia when I hear the melody of a particular song, to remind me of the sadness and beauty that is now my Australia,”

Directed by Safiyya Lea, the accompanying video for “Melbourne” stars a beanie-wearing Tilly Woodward, driving down a country road before she pulls over to get out of her truck and expressively dance by a tree.

New Video: JOVM Mainstays The Orielles Shares Two Dreamy and Expansive Tunes

Acclaimed, Manchester, UK-based JOVM mainstays The Orielles — Esmé Dee Hand-Halford (bass, vocals), Sidonie Dee Hand-Halford (drums, vocals) and Henry Carlyle Wade (guitar, vocals) — will be releasing their fourth album, the Joel Anthony Patchett-produced Only You Left through Heavenly Recordings on March 13, 2026. 

Recorded last summer in two locations — the Greek Island of Hydra and Hamburg — the forthcoming, 11-song Only You Left reportedly sees the band consolidating the bold experimentation of 2022’s Tableau with the more stripped-back, song-driven approach of their earlier releases, channeling a return to the familiar. “There’s nothing more trad than a three-piece,” quips Henry, in reference to the band’s decision to return to their roots as a trio. 

Now, as you may remember, the JOVM mainstays, which originally started out in Halifax gained attention both nationally and internationally with the release of their full-length debut, 2018’s Silver Dollar Moment, which will celebrate its eighth birthday this upcoming February. “These things come in like seven year cycles. So we’ve come in like a full circle back to a familiar place, just as different people,” the band says. 

As for the foundations of the forthcoming album, the band’s Henry Carlyle Wade says “You’ve got to die and be reborn between albums.” “It comes naturally, the band’s Esmé Hand-Halford adds, “it’s not something we consciously do.” Interestingly through this process of creative renewal, the JOVM mainstays have managed to weather a pandemic, the fickleness of a trend-driven music industry and somehow emerge with something that’s familiar yet completely different. 

According to Wade, the first ideas for the new album can be traced back to May 2023: Esmé Hand-Halford had purchased a freeze pedal, which allowed her to play around with sustained notes on her guitar. These heavy drones would later form the background of album tracks “Wasp” and “Three Halves.” 

In breaks between tours, the band began to meet up and record their practice room sessions, later analyzing the voice notes with a granular attention to detail. “We recorded everything on our phones, every snippet,” explains Henry. “We went so deep into what each song needed or what we wanted to hear from it.”

While the Tableau sessions were semi-improvisational and partially written in the recording studio, Only You Left was fleshed out through a series of intense writing sessions between May 2023 and last summer. Each of the album’s 11 songs were meticulously refined and became its own distinctive work. “It almost felt really novel for us to be writing as a three-piece and really, really crafting these songs,” the band’s Esmé Hand-Halford recalls. “But Tableau gave us that confidence to know we could go into a studio and pull things together in that setting under the time pressure.”

Producer and engineer Joel Anthony Patchett, whom Esmé Hand-Halford dubs the honorary fourth member of the band, has had a massive influence on the album’s sound and approach. “Joel brings an extra level of interpretation and deep listening,” Henry Carlyle Wade says, “and it’s always exciting to explore that.” Sidonie Hand-Halford adds, “He’s constantly talking us through every step of what he’s doing and getting really, really involved with that process as well. And we’re just kind of learning together and making these mistakes and discovering things together.” 

Only You Left will feature the previously released “Three Halves,” a track that derives its title from when the band’s Wade stitched together three recordings on Abelton and needed a working title. What initially began as a temporary placeholder quickly became a theme for Esmé Hand-Halford to riff on and a metaphor for the trio and their deeply shared connection.

Today, the JOVM mainstays shared the double single, “You Are Eating Part of Yourself”/”To Undo the World Itself.” “You Are Eating Part of Yourself” is a slow-burning and minimalist tune anchored around a looping, strummed guitar figure, dreamy vocal that gradually becomes a glitch-driven tide of feedback and cacophony before closing with a slow, piano-driven fade out. Seemingly nodding at OK Computer and Amnesiac-era Radiohead, “You Are Eating Part of Yourself” conveys a bittersweet acknowledgment of time irrevocably racing by before your eyes. “To Undo the World Itself,” is a expansive post-rock-like tune featuring reverb-drenched vocal melody ethereally floating over a propulsive, shoegaze-meets-dream pop arrangement of guitar, bass and drums.

Accompanied by a video directed by Neelam Khan Vela, which spans both tracks, the band said: “‘You are Eating a Part of Yourself’ began when a durational guitar loop was released from the archive of improv’s recorded in Henry’s bedroom. The title, which comes from a video artwork dating 1996, captures the darkness emanating from the original recording, and reflects the clarity to be able to define that feeling some years later. Through music (and some words) we unfurled the emotion captured back then, as we put our ears up to the organs of the body orchestrating their own symphony and dissonance.

Closing track of the album ‘To Undo the World Itself’ sings of rebirth and reversal, or outstanding finality, depending on the impression that ‘Only You Left’ leaves you with. The cathartic crescendo meant that this was a favourite to play in the various live rooms that we wrote / recorded in, where it was trialled against the backdrops of thunderstorms and peaceful sunsets alike.”

“After almost a decade of collaborating with The Orielles, we share a connection that makes our creative process completely intuitive, like a long rally where ideas are passed back and forth without needing to be spoken,” Neelam Khan Vela adds. ” The band filmed with Lewis and Giulia in Manchester, and from that starting point I let the emotional pull of the tracks guide the edit, completing the video through what the music evoked and what the evolving images seemed to ask for.”

New Video: Endearments Shares Anthemic “Real Deal”

Brooklyn-based indie outfit Endearments — Kevin Marksson (vocals, bass), Anjali Nair (guitar) and Will Haywood Smith (drums) — closed out last year by signing with Trash Casual, who then released the cinematic, “Cannon,” a track that nods at Simple Minds and Tears for Fears, as well as contemporaries like Nation of Language.

The trio’s Abe Seiferth–produced, full-length debut An Always Open Door is slated for a March 6, 2026 release. The nine-song album will feature the band’s unique emotionally dense and lush synth-based take on indie rock. An Always Open Door‘s first official single, the nostalgia-inducing, New Order-like “Real Deal” showcases the band’s ability to pair earnest, lived-in lyrics with rousingly anthemic hooks and choruses. Thematically, “Real Deal” explores the dynamics of a slowly decaying relationship that culminates with the sudden and heartbreaking realization of being just an accessory to someone else’s desires.

Directed by Paul Desilva, the accompanying video follows a story of a drunken hookup and the self-conscious revelations that occur in its aftermath.

“‘Real Deal’ is a song about feeling like you’re just a supporting player in someone else’s romantic idealization,” Endearments’ Kevin Marksson explains. “I hint at Apollo and Daphne in the lyrics and the idea that someone can be so focused on what love ‘should’ feel like that they forget there is a real person on the other end. The music video plays with that concept in a fun way by having our heroine wake up in a strange apartment after what seemed like a perfect evening, but maybe wasn’t as perfect as she thought.”

Albums of the Year 2025

JOVM turns 16 this year. And for first handful of years, my Best of List was an annual tradition until about 2014 or so. Between 2014 and 2020, it became sporadic and then it stopped. I haven’t done one of these in several years. There was a part of me that wondered if it really mattered much. And then life happened. 

So here we are in 2026. And with the year starting in earnest, let’s check out my best of 2025. 

  1. Big Fish Fyra liter stoft
  2. Tan Cologne Unknown Beyond
  3. Moondaddy Dove Tapes
  4. Sessa Pequena Vertigem de Amor
  5. Preservation Brass & Preservation Hall Jazz Band For Fat Man
  6. Silk Daisys S/T
  7. The Circling Sun Orbits
  8. Gabriel da Rosa Cacofonia
  9. Yoo Doo Right, Population II & Nolan Potter Yoo II avec Nolan Potter
  10. bat zoo The Upward Bird EP
  11. Public Circuit Modern Church
  12. L’Eclair Cloud Drifter
  13. Gloin All of your anger is actually shame (and I bet that makes you angry)
  14. CIVIC Chrome Dipped
  15. Population II Maintenant Jamais
  16. White Birches A New Reign
  17. Anish Kumar and Hagop Tchaparian Kino EP
  18. Friendship Commanders BEAR 
  19. The Besnard Lakes The Besnard Lakes are the Ghost Nation
  20. SHOLTO The Sirens
  21. S.C.A.B. Somebody In New York Loves You!
  22. Pierpont & Hegeleson Of Time
  23. RORO and snapir Colors Left
  24. St. Panther Strange World 
  25. Nation of Language Dance Called Memory
  26. Quad90 S/T
  27. Slumbering Sun Starmony
  28. Tunde Adebimpe Thee Black Boltz 
  29. Quad90 S/T
  30. Die Spitz Something To Consume
  31. debdepan LOVERS & OTHERS EP

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New Audio: Club 8 Returns with Nostalgia-Inducing “Daydreams”

Last year, Stockholm-based JOVM mainstays Club 8 — Karolina Komstedt (vocals) and electronic music producer, artist and Labrador Records founder and label boss Johan Angergård — released their 11th album, A Year With Club 8. Since then, the the duo have been busy, releasing a single or so a month over the course of the year, including the previously released “ooo,” “None Of This Will Matter When You’re Dead,” “Staying Alive,” “Born The Wrong Time,” and “Sneaky Feelings.”  

The Swedish JOVM mainstays’ latest single “Daydreams” continues a remarkable run of breezy, hook-driven and nostalgia-inducing material anchored around Komstedt’s ethereal and yearning vocal, expressive and shimmering bursts of guitars and a motorik groove. The song evokes a pleasant reverie — but with the bittersweet realization that it like all things won’t last forever.

New Video: Howling Bells Shares 120 Minutes MTV-like “Chimera”

Since their beginnings, London-based, Aussie trio Howling Bells — siblings Juanita Stein (vocals, guitar) and Joel Stein (guitar) and Glenn Moule (drums) — have been a bit of anomaly: They relocated to the UK to pursue their dreams of making it. And then, they broke through a British indie scene of three and four dudes wearing skinny jeans wearing bands with their acclaimed, self-titled 2006 full-length debut.

Those dreams of making it big became real: They played an NME Tour and then in stadiums opening for a Coldplay, while winning acclaim from the UK music press.

Throughout their nearly two decade history, the band has gone through a series of lineup changes but some things have remained the same: the core trio’s deep, unbreakable bond and their hypnotic sound, influenced by Tom Waits, Sonic Youth, Nirvana, Fleetwood Mac and Björk.

Howling Bells’ fifth album, Strange Life is slated for a February 13, 2026 release through Nude Records. The long-awaited album is the band’s first album of new material in over 12 years and was recorded with their longtime friend and collaborator Ben Hillier at Agricultural Audio Studios. The new album is reportedly both a vibrant document of and an exploratory testament to the alchemical magic between its core members.

Strange Life‘s latest single, “Chimera” showcases Juanita Stein’s gorgeous and expressive vocal and the band’s knack for big, hooks and choruses paired with an arrangement anchored round chiming guitars, a supple bass line and hi-hat driven drum patterns. If you’re of the 120 Minutes-era MTV age, as I am, “Chimera” will remind you quite a bit of The Sundays and Heaven or Las Vegas-era Cocteau Twins.

“Chimera is a strange word. It means a few different and curious things; in this context, however, I’m using it to mean something of an absurd nature, unattainable, a fantasy,” Howling Bells’ Juanita Stein explains. “Such is the relationship we have with music at times. This song speaks to my experience as a musician, surviving the perpetual ups and downs of the game. But if you’re lucky enough, you have someone who can cut through the noise and help you realise that the fantasy is half the joy. That the longing is part of the journey and that our achievements along the way are deeply meaningful. At its core, ‘Chimera’ is a song about hope and relinquishing control.”

Fittingly, the accompanying video for “Chimera” also further emphasizes the 120 Minutes MTV vibe by featuring trippy, superimposed imagery of the band performing on top of a sunset, flowers and the sea, flowers and rain splattered windows and the like.

New Video: Mute Swan Teams Up with Citrus Clouds on Cocteau Twins-like “Cocteau Swan”

With the release of their debut EP, 2016’s Ultraviolet and their full-length debut, 2021’s Only Ever, Tucson-based shoegaze/dream pop outfit Mute Swan — currently, Mike Barnett (guitar/vocals), Prabjit Virdee (bass, vocals), and Gilbert Flores (drums) — quickly established a swirling, densely layered take on psych rock that some critics and others have compared to Of Montreal and Soft Bulletin-era Flaming Lips. 

2021’s Only Ever was released to praise from The FADER, Merry-Go-Round Magazine and several others, as well as airplay on KEXP.

Earlier this year, the band signed to Hit The North Records/Wooden Tooth Records, who released “Hypnosis Tapes,” the first bit of new material from the band since their debut — and part of a batch of material that will be posthumously released after the tragic death of founding member Thomas Sloane. 

“Hypnosis Tapes” came on the heels of the Tucson-based outfit playing opening slots for Horse Jumper of Love, Wednesday, Tanukichanand Peel Dream Magazine, as well as a set at this year’s Levitation Festival.

Mute Swan closes out 2025 with “Cocteau Swan,” which features Citrus Clouds‘ Stacie Huttleson. Anchored around fluttering synths and swirling, reverb-soaked guitar textures paired with boom bap-inspired drum patterns, “Cocteau Swan” features Mute Swan’s Mike Barnett and Huttleson’s uncanny harmonies ethereally floating over the Cocteau Twins-inspired soundscape.
 
“This song is an homage to one of our favorite bands, Cocteau Twins,” Mute Swan’s Mike Barnett explains. “We were very lucky to have our friend Stacie Huttleston from Citrus Clouds sing the backing vocal part, which we recorded at their practice space in Phoenix.”

Directed by Mike Barnett, the accompanying video for “Cocteau Swan” sees the surviving band members paying a loving tribute to their dearly departed friend — by sharing pictures of their friend and the band while on tour, in the fullness and vitality of life.

New Video: Ulrika Spacek Returns with Labyrinthine and Ethereal “Square Root of None”

Formed back in 2014, London-based art rock outfit and JOVM mainstays Ulrika Spacek — founding members Rhys Edwards (vocals, guitar) and Rhys Williams (guitar) , alongside Joseph Stone (guitar, keys), Callum Brown (drums), Syd Kemp (bass) — can trace their origins back to a night the band’s founding duo spent in Berlin, where the pair conceptualized the project around their mutually held passions and influences — in particular, Television, Pavement, Sonic Youth and krautrock. 

Upon the duo’s return to the UK, they began working on the material that would eventually comprise their full-length debut, 2016’s The Album Paranoia, which featured album tracks “She’s A Cult,” and “Strawberry Glue.”

Since then, the project which started out as a duo, expanded to quintet with the addition of Stone, Callum, Brown and Kemp – and then released 2017’s critically applauded sophomore album, Modern English Decoration, an album that saw the band pushing their sound into a more textured territory. Their third and latest album, last year’s Compact Trauma channeled the anxiety and dislocation of the modernize age through a prismatic haze of guitars, loops and elliptical lyrics. 

The British art rock outfit’s highly-anticipated fourth album EXPO is slated for a February 6, 2026 release through Full Time Hobby. Unlike its predecessors, which looked within, EXPO reportedly holds a mirror up to the world and captures a warped reflection. The material was deeply informed by the band’s most recent American tour and was written while the band’s Rhys Edwards was awaiting the birth of his daughter, and started to wonder what kind of future world she’d inherit. 

Although their foundations have long been in art rock, they’ve been increasingly drawing from electronic elements. But as a band, they’re interested in the glitchy space that exists between the two. And as a result, their most recent work reckons with human warmth and digital isolation, while being welcoming and alienating, exploring the uneasy tension of modern life as we know it. “Our music has always been a collage – a bit patchwork, sonically – but what makes this album a landmark for us is that we went one step further and made our own sound bank and essentially sampled ourselves,” the band says. 

The band creates their own doppelgängers in a world of almost-real, where the band appears as if they’re in a funhouse hall of mirrors. Digital drums are sampled and layered over real drums and the like, creating an eerie, spectral vibe. Sonically, album’s material grapples with the organic and the digital while dancing across musical languages. 

The album will feature the previously released, “Build a Box, Then Break It,” a track that serves as a de-facto album mission statement that sees the JOVM mainstays actively pushing their sound into a new liminal space, while seemingly channeling Geoff Barrow‘s work with Portishead and Beak>, Radiohead‘s Amnesiac and The Orielles‘ The Goyt Method EP.

EXPO’s second and latest single “Square Root of None,” is an expansive, labyrinthine track that twists, turns and morphs in weird, prismatic directions seemingly at will. Featuring a looping and shimming guitar figure, bursts squealing feedback and a krautrock-like rhythm section, anchored around angular percussive attack, “Square Root of None” further establishes the album’s overall aesthetic while lyrically drawing from the language of math and coding, giving the entire affair a chilly, clinical vibe. The track, as the band says is about “throwing ideas at a wall” during a particularly cold Stockholm winter; one of the rare opportunities that the members of the band were in the same room together.

Directed by Katya Ganfeld, the accompanying video for “Square Root of None,” features the band performing in a studio with computer code, mathematical equations and computer screens superimposed on and around them.