Fake Fruit Are Caught Between Catchy Hooks and Sloppy Playing
When Fake Fruit find a strong musical hook on Mucho Mistrust, their songs are a lot of fun. When they don’t, their sloppiness comes to the fore.
carpark records
Rui Gabriel Comes of Age on the Reflective Triumph ‘Compassion’
It’s not easy to make a record that can soundtrack a barbecue and also provide balm for a dark night of the soul, but Rui Gabriel’s solo debut does just that.
Ducks Ltd. Use Music to Stay Out of ‘Harm’s Way’
Ducks Ltd. aren’t pessimists as much as realists. Harm’s Way serves as evidence of the power of music to redeem and bring us together.
Johanna Warren’s ‘Lessons for Mutants’ Is Beautiful and Uncategorizable
Johanna Warren’s Lessons for Mutants is state of the art. It rings with an uncategorizable quality that our age seems not to value very much, to our own peril: beauty.
The Beths’ Liz Stokes Still Has Her Head in the Clouds
Liz Stokes of New Zealand power-poppers the Beths discusses how to challenge herself creatively while keeping the lights on, and leading to a glorious new record.
Spacemoth’s Simple Indie Synthpop Brings the Hooks
Spacemoth’s No Past No Future is a smorgasbord of synth-oriented indie-pop sounds, covering a lot of musical ground while retaining a core style.
The Beths’ ‘Auckland, New Zealand, 2020’ Documents a Liberating Concert
The Beths’ new live album, Auckland, New Zealand, 2020, features possibly the most exhilarating music to yet come out of the COVID darkness.
Cloud Nothings’ ‘The Shadow I Remember’ Is a Life-Affirming and Defiant Statement
Cloud Nothings’ ‘The Shadow I Remember’ caps a remarkably prolific 12 months for leader Dylan Baldi with a reminder about the possibilities for community that music can provide.
The Beths Are Sharp As Ever on ‘Jump Rope Gazers’
New Zealand power-poppers the Beths return with a sophomore album that makes even the most senior indie-rock acts feel rudimentary by comparison.
Reaching For the Vibe: Sonic Boom Fears for the Planet on ‘All Things Being Equal’
Sonic Boom is Peter Kember, a veteran of 1980s indie space rockers Spacemen 3, as well as Spectrum, E.A.R., and a whole bunch of other fascinating stuff. On his first solo album in 30 years, he urges us all to take our foot off the gas pedal.
Toro y Moi Contemplates Late Capitalism on ‘Outer Peace’
Esteemed producer Toro y Moi takes on new, funkier sounds with Outer Peace, but none of them quite transcend the overblown promise of his early chillwave fame.
The Beths Practice Confident Ambivalence on ‘Future Me Hates Me’
New Zealand rockers the Beths match garage energy with sweet vocals for a memorable debut album.