Latest news with #indierock
Wall Street Journal
10 hours ago
- Entertainment
- Wall Street Journal
‘Headlights' by Alex G Review: Staying True to His Sound
In 2012, Philadelphia singer-songwriter Alex Giannascoli, who performs as Alex G, uploaded an album called 'Trick' to Bandcamp. Though he was just 19 years old, it was actually his fourth self-released LP, and it became something of a cult classic—one that, by streaming standards, can fairly be called a 'hit,' with several songs that have accrued hundreds of millions of plays on Spotify. He's now famous, in a way, for a certain audience: If you are under 35 and enjoy indie rock, Alex G is close to a household name; if you are over 50 and not particularly invested in new music, you may not have heard of him. Today's media fragmentation allows artists to build large followings without broad mainstream recognition. There's an inherent contrast in Alex G's music. As a teenager, he was obsessed with the work of Elliott Smith, and his breezy tunefulness and fondness for acoustic guitar still carry some of that influence. But Mr. Giannascoli is no throwback. He has an ear for the perfect chord change and knows how to tweak a melody for maximum heartbreak, but his music feels of and for the internet. He often bends and filters elements including his voice into weird shapes, and his album covers speak the visual language of videogames and memes. The songwriter's 10th studio LP and major-label debut, 'Headlights' (RCA), out Friday, is notable for how little it seems designed for wider acceptance. Some tracks capture his playing and singing a little more clearly, but it has all the immediacy and eccentricity that have carried him this far. That said, if heard in the background, the early stretch of 'Headlights' scans at first like Mr. Giannascoli has sanded off some of the edges. The opening 'June Guitar' is a stately acoustic ballad, and Mr. Giannascoli has rarely sung so plainly, with so little processing on his voice. The song's characteristic lyrics touch on personal epiphanies and the lost innocence of childhood—one moment he's at the 'end of my rope,' the next he's looking for a girl to swing on it with him. The following 'Real Thing' has a hushed, countrified arrangement as the singer meditates on authenticity, throwing in details that could come only from a young musician signed to a record deal ('Hoping I can make it through to April / On whatever's left of all this label cash'). And 'Afterlife' is a twangy exploration of what heaven might be all about that moves among fragmented images—a kid running in the grass, an overpowering light—like a Terrence Malick film.
New York Times
13 hours ago
- Entertainment
- New York Times
Billy Jones, Impresario of New York's Indie Music Scene, Dies at 45
As a recent college graduate in the early 2000s, Billy Jones lived with his parents in Richmond, Va., but his fantasy life was elsewhere: in Williamsburg, the Brooklyn neighborhood that had become the world capital of indie rock. The closest he could get was visiting his local Barnes & Noble, where he would read magazines covering New York's music scene. Then one day in 2002, he made the leap: He was leaving home, he told his father. He and the high school friends who made up his band, Other Passengers, had decided to try to make it big in New York. In Williamsburg, Mr. Jones began working as a barista, with dreams of indie-rock stardom. It wasn't so far-fetched. At a cafe down the block, another barista, Kyp Malone, would soon gain renown as a singer and guitarist with the group TV on the Radio. There was passion in the moans of Mr. Jones's singing, but he did not become a rock star. In time, the Williamsburg concert venues that had launched some of his peers — clubs like 285 Kent, Glasslands, Death by Audio — all closed. Rents in the neighborhood had skyrocketed. Aspiring young musicians left. And instead of achieving his own dreams, Mr. Jones wound up doing something else: He made it possible for other people to keep dreaming. In 2013, he and a friend, Zachary Mexico, opened Baby's All Right, a club at 146 Broadway in Williamsburg. It became, as The New York Times wrote in 2015, the 'nightlife preserver' of the neighborhood. It was a small enough venue to offer major acts an indie spirit that they could no longer find elsewhere in New York City, yet big enough to make unproven musicians feel that they had made it. Want all of The Times? Subscribe.
ABC News
2 days ago
- Entertainment
- ABC News
Merpire — Milk Pool
Four years on from her Double J featured debut album Simulation Ride , Merpire dives into her second , Milkpool. Armed with a natural gift for hooky indie-rock that's emotive, memorable and comfortable, her songs are often playful yet mature, capable of tension and tenderness, and very relatable. Observe how she renders the simultaneous thrill and fear of a crush that develops into something serious in three unique ways across the album's opening triptych — easily some of the Melbourne/Naarm artist's strongest material to date. 'Leaving With You' instantly snares you with its grunge-laced, earwormy riff and killer chorus: 'I only stay in the hope of leaving with you I run away with the thought of it coming true' Following that strong opener, 'Premonition' rewires similar feelings into sensual synths and gorgeously restrained atmosphere. 'When we hug/And f**k around/I get a premonition' , Merpire sings, twisting the expletive into a magically melismatic flourish. She's called it her "horniest song" yet, but then along comes 'Bigger' and its saucy chorus regarding fingers in mouths and rebuffing of romantic advances "going south". The vivid lyrics are perfectly pitched against catchy melodies and full-band groove that's fun rather than merely flirtatious. 'Fishing' is a charismatic, crunchy ode to community, specifically the local music scene in which Merpire (real name Rhiannon Atkinson-Howatt) is firmly planted. Her roots spread from co-founding successful COVID-era streaming series ISOL-AID, to being one half of indie-pop duo Wilson's Prom, and opening shows for the likes of Fanning Dempsey National Park, Magic Dirt, Ball Park Music, and more. Milkpool takes a darker turn on the elegantly brooding 'Rosanna', which captures the fatalism of a disintegrating relationship with understated plucks and moody keyboards. ' No matter how good we get, I think we're in trouble' , Merpire laments, her vocals eventually digitally fractured against restless drums and wiry guitars. Meanwhile, the introspective, acoustic 'Cinnamon' demonstrates her songwriting is just as effective when working with just a few key ingredients. Back-to-back, these tracks show how Merpire has developed from Simulation Ride . She's now as confident leaning into bigger, more layered arrangements — alongside co-producer James Seymour — as she is paring back, such as the raw closer 'You Are Loved' where the scrapes of acoustic strings cuts as sharply as her yearning refrain of ' I am trying to remember I can be loved '. Late album stand-out 'Internet' is a tender, piano-led number where the lovestruck singer punches questions into a search engine — both banal and profound. Between the song's blooming dynamics nestles a canny interrogation of how being online risks eroding meaningful connection: ' Wait … don't worry, my algorithm's working this one out.' It's a great example of how the album smartly tows the line between serious and humorous. After all, Milkpool is named in honour of Merpire trusting her artistic instincts while wading into the unknown. And a classic joke from The Simpsons. These 11 tracks possess immediate charm, but the more time you spend with them, the more their sincere takes on familiar subjects — love, lust, self-worth — reveal themselves to be unique. Fans of Mitski and Japanese Breakfast will find plenty to love about Milkpool, which makes a convincing case for enshrining Merpire in a lineage of talented homegrown artists, from Courtney Barnett and Julia Jacklin to Angie McMahon and good friend Ruby Gill. Milk Pool is out now. Catch Merpire at the following dates: Friday August 15— Junk Bar: Turrbal Jagera Land, Brisbane Saturday August 16 — Lazy Thinking: Gadigal Land, Sydney Sunday August 17 — Smiths Alternative: Ngunnawal, Canberra Thursday August 21 — Merri Creek Tavern: Wurundjeri Woi Wurrung, Melbourne (sold out) Thurs August 28 — Merri Creek Tavern: Wurundjeri Woi Wurrung, Melbourne (sold out)
Yahoo
3 days ago
- Entertainment
- Yahoo
Wet Leg Are Stupid and Contagious on ‘Moisturizer'
'We're on our way to the club/Stupid is, stupid does' — whatever party Wet Leg are heading to, it sounds like one worth crashing. The U.K. indie rockers came out of nowhere in 2021 (well, the Isle of Man) to become bona fide international superstars with two devilishly clever singles: 'Wet Leg' and 'Chaise Longue.' Rhian Teasdale and Hester Chambers banged on their guitars and sneered hysterically cheeky one-liners about the moronic menfolk who cross their paths, with the immortal hook, 'Baby, do you wanna come home with me?/I got Buffalo '66 on DVD.' Wet Leg started as just a couple of wiseasses fighting off the post-collegiate ennui by writing a few songs for a laugh — as they sang, 'I went to school and I got the big D!' They even boasted they came up with the idea to start a band while riding a Ferris wheel. Yet their debut album turned out to be a surprise blockbuster, even in the U.S.A., usually the country where cool British bands go to die. Wet Leg even bagged a couple of Grammys — not bad for a band whose two most famous songs were about vehicular masturbation and snogging groupies in the dressing room. Snappy guitars, casual sarcasm, punk feminist arrogance flipping off the world — what's not to love? More from Rolling Stone Wet Leg Bring 'Moisturizer' to NPR Tiny Desk Wet Leg Sound the Alarm on New Single 'CPR' the Beaches, Wet Leg, MJ Lenderman to Headline Rolling Stone's Rock & Roll Tour On their second album, Moisturizer, Wet Leg prove they've been partying harder, traveling faster, caring less, and meeting sexier idiots. If you thought they might catch a case of sophomore-slump neurosis, you guessed wrong. They crank up the drum mix, enough to make you suspect they hang out in some pretty sleazy rock clubs these days, for a sound that's aimed at the floor. 'Mangetout' is a damn-near perfect dance-punk summer jam, all pulsing rhythm and brazen confidence and raging hormones. Teasdale comes on strong with a pick-up line for our times: 'You think I'm pretty/You think I'm pretty cool/You wanna fuck me?/I know — most people do.' By the end of the song, they're are chanting, 'Get lost forever!' Moisturizer keeps everything fast and frisky, kicking off with 'CPR,' where Teasdale turns lust into a medical emergency, demanding mouth-to-mouth resuscitation with ambulance-siren synth hooks. Since the debut, she's found herself in a queer relationship for the first time. But as on the debut, every song is funny, chronicling the ups and downs of modern romance. They've been stars for a couple of years now, touring with their fan Harry Styles, who did a bang-up version of 'Wet Dream' on the BBC. Yet they haven't cleaned up their young, loud, and snotty act. They're a full-fledged five-piece band, with their longtime live group and producer/keyboardist Dan Carey. It's the classic U.K. dance-oriented guitar rush of classic Britpop legends like Elastica or Franz Ferdinand, with plenty of Blondie-worthy attitude. 'Catch These Fists' is about clubbing hard, doing too many drugs, and starting brawls with the losers who try to pick you up when all you want is to dance with your friends. 'He don't get puss, he get the boot,' Teasdale jeers. 'I just threw up in my mouth/When he just tried to ask me out.' 'Pillow Talk' is a high-speed New Wave ode to romantic lust. 'Every night I lick my pillow, I wish I was licking you,' Teasdale sings. 'Every night I fuck my pillow, I wish I was fucking you.' Chambers sings lead vocals in a pair of charmers, 'Don't Speak' (not the No Doubt tune) and 'Pond Song.' The only dud on the album is the token ballad, '11:21' — slow-motion sensitivity isn't really Wet Leg's style. They're much more at home letting it rip in bangers like 'Jennifer's Body,' 'Liquidize,' and 'Davina McCall.' The emotions on Moisturizer range from crushed-out bliss ('I'll be your Shakira, whenever, wherever') to break-up rage ('You are washed-up, irrelevant, and standing in my light'). But wherever Wet Leg go, they make you want to tag along. Best of Rolling Stone Sly and the Family Stone: 20 Essential Songs The 50 Greatest Eminem Songs All 274 of Taylor Swift's Songs, Ranked
Yahoo
3 days ago
- Entertainment
- Yahoo
Jay Som Cracks Open Comeback Album ‘Belong' With Two New Singles and 2025 Tour Dates
Jay Som is ready to bring us back into her world, or rejoin us in ours. On Oct. 10, the musician will share the full-length LP Belong as her first album in six years. During her absence, the singer-songwriter and producer worked behind the scenes as a collaborator with Lucy Dacus, Troye Sivan, Boygenius, and more, but largely kept her distance from her position as a leading character in indie rock. Now, Jay Som is back to reclaim her place with 'A Million Reasons Why' and 'Float,' her collaboration with Jimmy Eat World's Jim Adkins. 'This song is about desperately trying to hold on to past versions of yourself for self preservation,' the artist born Melina Duterte said of 'Float.' 'The fear of the unknown is so overwhelming that sometimes the best solution is to sit with it instead of fighting or running from it.' The record arrives alongside an official music video directed by Nina Ljeti that inadvertently pays homage to Jimmy Eat World's 'The Middle.' More from Rolling Stone Raphael Saadiq Unveils Fall 2025 'No Bandwidth' One-Man Show Tour Dates Lorde on Dropping 'Virgin': It 'Broke Me Apart and Forged a New Creature Out of Me' Chilean Star Cris MJ Drops 'Apocalipsis,' His First Album Following 'Gata Only' Success 'Melina is an absolute professional in all aspects of music creation,' Adkins said. 'I am honored she had space in her vision for me to contribute. And it was a lot of fun to work on.' Jay Som hasn't historically opened the door to collaboration so widely on her own music. With Belong, she embraced its potential. Paramore's Hayley Williams appears as a featured guest on 'Past Lives,' while Mini Trees' Lexi Vega has vocal contributions woven throughout the album. Additional collaborations include Soft Glas' Joao Gonzalez, Mal Hauser, Steph Marziano, and Kyle Pulley. The 11-track record has been described as a blend of 'supercharged power-pop hits and hazy ballads' with 'electronic curiosities.' A few weeks after Belong arrives, Jay Som will take the album on the road. The musician's U.S. tour will begin on Nov. 23 in Los Angeles with additional stops scheduled in Austin, Dallas, Atlanta, Philadelphia, New York, Chicago, and more. General sale begins Friday, July 11 at 10 a.m. local time. Jay Som will also join Dacus on tour for select dates from July 25 through Aug. 18. Jay Som Track List1. 'Cards On The Table'2. 'Float (feat. Jim Adkins)'3. 'What You Need'4. 'Appointments'5. 'Drop A'6. 'Past Lives (feat. Hayley Williams)'7. 'D.H.'8. 'Casino Stars'9. 'Meander/Sprouting Wings'10. 'A Million Reasons Why'11. 'Want It All' Jay Som 2025 U.S. Tour DatesNov. 23 – Los Angeles, CA @ El ReyDec. 02 – Austin, TX @ The ParishDec. 03 – Dallas, TX @ Club DadaDec. 05 – Atlanta, GA @ Aisle 5Dec. 08 – Washington, DC @ AtlantisDec. 09 – Philadelphia, PA @ FoundryDec. 11 – New York, NY @ WarsawDec. 12 – Pittsburgh, PA @ Spirit HallDec. 13 – Chicago, IL @ Lincoln HallDec. 14 – Minneapolis, MN @ Fine Line Best of Rolling Stone Sly and the Family Stone: 20 Essential Songs The 50 Greatest Eminem Songs All 274 of Taylor Swift's Songs, Ranked
