Canadian DIY darlings Men I Trust made a name for themselves in the indie scene with their unique blend of dreamy, groove-laden pop. Oftentimes in the band's press it seems that former characteristic of their music eclipses the latter in recognition, but "Tailwhip" is proof positive that their sense for for crafting an infectious rhythm is just as keen as their knack for generating the spacious atmospheres those rhythms occupy.
"I Like It I Like It" is a soulful, almost sinister little helping of R&B, built on a roiling, slinky beat and a positively seductive bassline and topped with luscious, chime-like keys, plus the occasional clarion-call synth. Both singers join in reverb-drenched harmony throughout, splitting the song's two primary verses between them before ending once more in perfect tandem.
... OB's exultations are put forward with an delicacy found in the most effervescent indie pop. The end result feels at once relaxed and celebratory: a perfect portmanteau of Afrobeat jubilation and Indie contemplation.
"Claw Foot" ... is a tightly constructed and eminently catchy exemplar of Royel Otis' sterling approach to alt-pop/rock. The song's bass-heavy rhythmic figure and chimey guitars are immediately evocative of genre paragons like Joy Division and The Cure, while it's breakneck pace and chanted chorus keep things sounding fresh and the energy high.
A gift to Beatles fans music lovers of all stripes, "Now and Then" is a fitting final offering from one of the most seminal bands of all time.
Los Angeles based band The Marias bring you a beautiful lofi-chill track “Calling You Back” that’s just dripping with elements...
Fuzzed-out guitar licks drip over a strutting, lascivious beat while Kane channels Marc Bolan's sultry croon in an ode on a botanically-dubbed lover, all wrapped up in a warm layer of saturation that recalls both retro recordings, and the scores of present-day tracks made to invoke that same analog aura.
..."Unraveling," feels like a both a culmination and an evolution of all these past iterations of Muse, merging the synthwave ventures of their later years with the guitar-driven heaviness of their earlier repertoire.
Earlier this week, Vancouver-based Indie darlings Peach Pit dropped their new track "Magpie" in advance of its eagerly anticipated, similarly titled parent album. Magpie's October 25th release will be the band's most recent since 2022's From 2 to 3, with this titular single being their first musical offering since that album's "Vicky." "Magpie" sees Peach Pit - who have previously characterized their music as "chewed bubblegum pop" - coloring their trademark aesthetics with layers of rich harmonic fuzz. No pun intended.
"Loser" has something of a western feel to it under the hood, characterized by a steady, almost statically insistent groove and punctuated with deliberate rhythmic strikes a la Parker's recent hit "Borderline."
Though frontman Robert Smith might protest easy categorization, The Cure are without a doubt one of the seminal gothic rock bands of all time. Pop-twinged and radio friendly hits like "Friday I'm in Love" or "Just Like Heaven" exist alongside the kind of haunting, angst-filled odes like "One Hundred Years" or "Lullaby" that helped define the goth rock phenomenon. "Alone," the legendary band's first new release in well over a decade and the lead single from their upcoming album Songs of a Lost World, sees the band return to that latter sort of peak brooding form after a considerable hiatus.
Receiving particular acclaim following the release of 2021's album Ignorance, The Weather Station has spent the intervening years refining a particular blend of indie, folk, and jazz, through to their newly released record Humanhood. "Mirror," the album's third track and most recent single, epitomizes that style, just as its accompanying video realizes it into a wider spectrum of the senses.











