The structure of this album fully grasps the listener and takes their hand to take you on an adventure, where Oscar Pollock talks you through his thoughts and feelings on the world we live in. ... Near-perfect indie singer-songwriter stuff? A typical band that’s known for slam dancing and stage dives often doesn’t even try to head down the road of alienating their fan base, understandably so.

And all we can say is, isn’t it nice to have more Kevin Parker to talk about? One of this year’s highlights arrived early in 2019 in the form of Sundara Karma’s sophomore album Ulfilas’ Alphabet. That’s especially true on Titanic Rising, which finds Mering edging her peculiar psych-folk closer than ever to the sound of traditional pop music. Updated: Check out the best new indie albums of 2020!. The differences between We Slept at Last, Marika Hackman's 2015 full-length debut, and her latest offering, the terrific Any Human Friend, aren't infinite, but they're certainly noteworthy, and shed light on the artistic transformation of the 27-year-old British singer-songwriter. For their sophomore effort, however, the group traded tales of zombies and pizza for darker, more personal lyrics and a more streamlined grunge-pop sound. On her debut album, Beware of the Dogs, Donnelly continues to tackle similar issues, such as sexism, inequality, prejudice, and failed romantic relationships but does it with wit, sarcasm, and self-deprecating humor. —Zach Schonfeld, There is no room for nostalgia in Sleater-Kinney’s reunion. A record that’s roughly five songs too long and as many choruses too cheesy may not sound like the most enticing listen, but Ezra Koenig expertly spins even the shabbiest couplets into nuance—and he does it to the tune of pure sunshine. Jacklin said, in writing it, she realized “how not very special” she is (evident in “Body,” as she sings, “It’s just my body / I guess it’s just my life”). The pianos crackle; the organs rumble and groan (see: “Nothing Sacred / All Things Wild”); everything has that fuzzy analog glow. The song is called “Old Man,” and it’s a fine introduction to Donnelly’s songwriting, which is frequently funny, confrontational, and charged with an awareness that the personal is political. The throbbing electro keyboards of “Exception to the Rule,” the fuzzy rock surge at the end of “Big Black Heart” and the psychedelic guitar swells on “My City” all represent a venture into new frontiers.
Music Reviews: Tiny Changes: A Celebration of Frightened Rabbit's 'The Midnight Organ Fight' by Frighte… Like I said, enough to start getting excited! In the meantime, revisit the first single below, and whatever you do, don’t call it “sad boy” music. All Mirrors is the work of an artist maturing and fully coming into her own, and solidifies Olsen's place in the pantheon of indie rock royalty. –Matt Melis, Why We’re Excited: Besides bringing big sunglasses and more fringe than that western shop at the nearly abandoned mall that only sells cowboy attire (you know the one), Jenny Lewis always brings large expectations when she announces a new record. It sounds decidedly grown up, mature both lyrically and musically, and it’s a spectacular studio effort. My! —Hayden Goodridge, On their 2017 debut Plastic Cough, Seattle five-piece Great Grandpa took a good-humored, often light approach to grunge. It’s ultimately a life-affirming album from an artist we’re lucky to have with us.–Philip Cosores. Who knows until we know with this guy.

—Steven Edelstone, Listening to Girlpool’s startling 2015 debut Before the World Was Big felt like digging into a bag of saltwater taffy, unwrapping small portions that were taut, sticky sweet, and a little bit briny.

way, way back in April, only to delay the thing until this month. At its best, The Center Won’t Hold is an urgent and deliriously impolite record about powering through exhaustion, despair and the ambient dread any feminist feels pretty much constantly in 2019. Her voice sways from high and light, to low and gritty, always putting the lyrics at the forefront.
In her sweet voice, Donnelly recounts a friend's traumatizing experience of sexual assault and critiques patriarchal society for condoning male predatory behavior.

It sounds deceptively simple and catchy, but Donnelly's lyrics cut deep. But it’s also rooted, deeply, in a sense of calm. It’s almost as though her stories can’t quite be contained within the limited space of the songs themselves. Choosing the albums involved a good deal of second-guessing and debate as to whether this or that could legitimately fall under the banner of "indie rock". Alas, that’s what we’ve been stuck with, but if it means we get to bundle artists as great and as eccentric as the ones you’re about to read ahead, then we’re good. In turning the camera on himself, even in his most vulnerable moments as a sick and dying man, filmmaker and activist Marlon Riggs demonstrated the futility of divorcing the personal from the political. In 2019 "indie rock" felt more like a guitar-led free for all with artists drawing from an ever-widening musical well. This seemed to suit its messy, god-obsessed exuberance: Let it ring out wherever you can. Folks who know her debut, 2011’s The Outside Room, might be surprised to hear Weyes Blood in 2019, but they shouldn’t be shocked. Rotten, indeed. San Diego's Kimm Rogers taps into frustration with truth-masking on "Lie". 2019 is already halfway over — where did the time go? These are our top 10 picks for the year. –Michael Roffman, Why We’re Excited: After bringing elegance to last year’s unnerving Suspiria, Thom Yorke will return with some more original music, only he has his eyes on the world rather than, say, a European ballerina school from the ’70s. Jacklin clearly had to sort through mountains of wreckage to arrive here, but the album’s autobiographical nature is what makes it so affecting. Let it be easy. Naturally, you'd assume it's a handy label for indie guitar bands who stick to writing indie guitar songs. Thanks to her zeal for odd sonic experiments, Le Bon effectively transposes that jarring state of consciousness into sound. In 2019, much of Big Thief’s ethos feels like a throwback to the LP era: the prolific output (think Creedence circa 1969-1970), the album-stream-as-vinyl-sides, the band’s creative intimacy and affinity for recording live with minimal overdubs.

It is overall rawer and more immediate. They did say they were going to be big. As unsettling as its namesake, the newest record from Alex Giannascoli at times improves on the inscrutable, circuitous experimentation of his Domino debut, Beach Music.


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