After shocking fans and supporters when his one-month long IndieGoGo campaign raised over $50,000, Mae’s former frontman Dave Elkins has independently released his first album Color (n.) Inside The Lines under the name Schematic. The album shows a musical side of Elkins that fans have yet to see, and while his creative ambition is admirable, one can only hope that his experimentation won’t backfire and leave fans confused about where his music is going.
Hummingbird, the sophomore album from indie rock foursome Local Natives, does much to carry on the legacy of its highly praised predecessor, Gorilla Manor. The album’s poignant lyrics and melodic feel offer up a complex experience, pleading with the listener to delve deep inside their psyche and explore what might be hiding in the depths.
From the Bird’s Cage contains a unique ten songs that highlight HRVRD’s unpredictable and progressive sound. The album contains an array of brilliant pads, textures, and ambience that give the tracks a reflective and even ghostly, haunting vibe.
Indie rock has been growing exponentially popular in the mainstream, and newcomers Atlas Genius are sure to make their mark in the scene with When It Was Now. With smooth vocals, lush synths, and vivid guitars, this album is perfect for long drives or relaxing with your friends.
If you remember Oceana, then mentally cross that band name out and scribble in Polyenso instead. Except it’s not quite so simple because with a new name and a recent self-released album, it’s crystal clear that this is not the “post-hardcore†band listeners may have thought they knew before their break.
Seasoned indie rockers Fake Problems and up-and-coming punk band You Blew It! have teamed up to prove make their home state proud with the aptly-titled split Florida Doesn’t Suck.
In a world bursting at the seams with cookie-cutter music acts, twenty | one | pilots have managed to craft a truly unique record, brazenly blending a plethora of genres and pushing the envelope on what constitutes pop music.
For most artists, it may be challenging to recreate their favorite songs, but Young Statues have released a solid cover record that reflects their own originality and maintains the integrity of the artists that inspire them the most.
From the very beginning strains of the first song on The Broderick’s self-titled LP, the album’s compelling nature is apparent. The skillful lyricism combined with its simmering emotions make for a cohesive twelve-track set that never lacks enough differentiation to keep the entire album feeling fresh.
The first challenge of properly absorbing Benjamin Gibbard’s first solo album Former Lives: separating the Death Cab For Cutie and Postal Service versions of Gibbard from the solo one. The new album is more gritty and acoustic than his former beloved gentle indie catalogue, true, but Former Lives needs to be experienced in its own right without any shackles of the past.
