Alternative Album Chart: the best new indie and alternative albums this week
September has ushered in a wave of cold weather and, with it, a slew of new albums to coax us through the unwelcome transition to autumn. Whether you’re seeking out cinematic Parisian pop to offset the chilly weather or are looking to lean into it with a scuzzy shoegaze record, this week has gifted alternative, indie, and electronic fans with some of the most exciting releases of the year so far.
Hello Mary take home Far Out’s album of the week title with their sophomore offering, Emita Ox, an album that manages to offset the hype-induced cynicism that can often cloud highly anticipated releases. It’s a record that shows off just how much the band have honed their sound since the release of their self-titled debut last year, reinvigorating guitar music in the process.
There are also a number of debut offerings this week. Internet-friendly shoegazers Julie unleash their first full-length record, My anti-aircraft Friend, which provides a healthy dose of noisy, pedal-laden strums sure to leave you longing for the 1990s. London-via-Yorkshire outfit Deadletter also released their first record, Hysterical Strength, which embodies all the characteristics of modern post-punk.
One of the most exciting releases of the week comes from contemporary electronic (sometimes classical, sometimes jazz, sometimes ambient) stalwart Floating Points, who returns to roots with odes to Manchester and the formative sounds of Key103. For fans of a slightly softer sound, Tindersticks’ new offering is ambient and atmospheric, while Hataałi provides one of the most laid-back records of the year so far.
Contemporary music continues to produce interesting releases in every genre, from shoegaze to electronic to synth-pop. The Alternative Album Chart is below.
The best new indie and alternative albums this week:
Emita Ox – Hello Mary – [4.5/5]
Often, when there’s a lot of buzz about a band, it’s understandable to be highly cynical. After all, what do people actually know? There have been innumerable instances when groups have been hyped up with wide eyes and big words, only for the reality to be a markedly disappointing contrast. Eschewing the contemporary trend, this is not the case for Hello Mary, the New York City trio who have been making waves over the past couple of years. Their second effort, Emita Ox, is one of the best albums released this year.
It has everything you might want from a rock band, and given that the members are in the onset of their 20s, the accomplishment in store is afforded a genuinely remarkable dimension. For this to be only their second proper album, hot on the heels of their first, bodes incredibly well for the trio, who supply affecting vocal harmonies, frank lyrics, well-oiled guitar lines, dynamic rhythms and a sprinkling of electronic textures to full effect, as they continue to burnish their undulating melting pot of ideas.
For anyone who thought guitar bands were dead, look no further than Hello Mary. They’ve confirmed that they’re here to stay. Do not be surprised to see their reach spread exponentially over the coming years.
Waiting For A Sign – Hataałii – [4.5/5]
If Hataałii was any more laidback he’d be lying down. Hailing from Window Rock, Arizona, the capital of the Navajo Nation, the 21-year-old knows a thing or two about sleepy sepia-tones. With effortless indie swagger, his sixth album captures his hometown landscape, that feels at once rugged and visceral yet shimmered with a mirage of wistful spirit.
His plaintive tunes capture this golden, ghostly world with a fidelity that is immediately transportive. Inspired by the likes of Bob Dylan‘s crooned Nashville Skyline classic, Waiting For A Sign encapsulates old America and its lingering ways—sounding not unlike a far-gone dream of driving through New Mexico at sunset while listening to ‘Lay Lady Lay’.
Waiting For A Sign is an album that mediates the modern world through the honeyed hiss of an AM Radio in an old pick-up, driving through eternities in search of sunnier climes as the dusk steadily settles in.
Shirt – Porches – [4/5]
In his time as Porches, Aaron Maine constantly delivered through his various creative whims. A truly singular artist who writes for himself and stays in his own lane, this tact has created an excellent discography with an assortment of sonic twists. Yet, with his sixth album, Shirt, he supplies what might well be his best effort to date, which sees him draw on his formative past in bands and properly utilise the crunch of the guitar for the first time.
Shirt is an album boasting a distinctive emotional arc. Mirroring the ones we all experienced as teenagers, starting with the furious, hormone-driven stupor and concluding with the emotionally drained reflection that saw us institute significant steps on our way to growing into fully-fledged adults, the partnership of the lyrics and music leaves a mark.
While the autotuned vocals and angsty vibe won’t be for everyone, Shirt is the sort of album that, if you engage fully with it and drop your guard, you will find yourself being impressed upon by the force of Maine’s creativity and nouse in bringing his vision to life. There’s a grand achievement in assembling a record so abstract but universal.
Cascade – Floating Points – [4/5]
Floating Points, also known as Samuel Shepherd, returns to his roots with a record full of blinding electronica. Cascade features no gentle saxophones or minimalist moments, and it certainly won’t be soundtracking the San Francisco Ballet anytime soon. It’s far darker, denser, and more danceable than any of Shepherd’s more recent endeavours but just as enticing.
Produced from Shepherd’s laptop, the songs stretch over six, seven, or even eight minutes, relishing in never-ending synths and drawn-out drops. It’s not just a return to his roots sonically, either. There are references to a radio station he frequented in his youth and an ode to Afflecks Palace in his hometown of Manchester, a quirky shopping emporium as eclectic as the song it gives its name to.
Cascade may seem like a homecoming for Shepherd, but it’s unlikely that he’ll commit to the world of electronica for too long. Cherish it while you can before he sets off on a completely different tangent once more.
Come And See – Gurriers – [4/5]
Gurriers look you in the eye as they shake your hand on their new album, Come And See. A beautiful contradiction, as this simple record, which relies on guitar, drums and vocals, is intricate, noisy and deeply layered. What is, without a doubt, a punk album on the surface is also a great example of how important spacing and variety are in any record to make big moments feel bigger.
Gurriers are unrelenting in their dedication to punk, noise and chaos, but they also strip songs back and play with tempos and vocals so that tracks follow a similar theme but are also distinctive from one another. The record doesn’t just rely on high energy. The breakdown on songs like ‘Close Call’ is comparable to the likes of ‘Whole Lotta Love’, as a drawn-out and eerie atmosphere is created, which means the big moments in this record feel even more so.
Come And See is a treat from start to finish. An album that deserves repeat listens and will undoubtedly be exciting to experience live. It’s raw and emotional with a lot to say and the tested gaul to say it. It’s a heavy dose of just about everything, and a little triumph for the genre.
Trois, Deux, Un – Juniore – [4/5]
Although, in the modern age, mainstream audiences rarely look to the European mainland for rock excellence, Parisian outfit Juniore are one of a number of bands succeeding in changing that reputation and continuing a long lineage of French music icons. Led by songwriter and multi-instrumentalist Anna Jean, the band have truly come into their own on the newly unveiled album Trois, Deux, Un.
Throughout this record, it is virtually impossible to ignore the impact of Juniore’s old-school influences. In particular, the band evoke the sounds of 1960s Disques Vogues, Françoise Hardy and the yé-yé movement regularly, giving tracks like ‘Monumental’ or ‘À Quoi Bon?’ something of a timeless quality. That is not to say, however, that the material of Juniore is stuck in the past; the band manage to pay homage to their influences and the rich musical history of their nation while imbuing those influences with a defiantly modern edge.
For a band that relies so heavily on influences of cinema and 1960s pop, it is an incredibly fine line to balance between paying tribute to this inspiration and becoming something of a novelty act. Osta’s production, alongside the incredible songwriting of Jean, of course, helps to push the band in the more favourable of these directions.
Soft Tissue – Tindersticks – [3.5/5]
Capturing the deeply melancholic ambience only the members of Tindersticks could do, Soft Tissue feels both haunting and intimate. Its gentle lines, flashes of rhythmic funk, and ethereal vocal harmonies provide a masterclass in atmospheric soundscapes. Almost cinematic in places and sensually mellow in others, this record evokes a certain kind of quiet sadness akin to images of rainy city streets and late-night reflections.
At first, the delicate notes and rich textures feel like deliberate choices to create a specific mood, but around the mid-section, these choices become harder to distinguish from a lack of direction. While the album succeeds in creating a cohesive sound and an undeniable atmosphere of melancholy, one that’s difficult to find fault with, it falls flat in places by not pushing beyond those initial ideas. It’s a rainy day rather than a storm.
My anti-aircraft friend – Julie – [3.5/5]
Even without full-length releases to their name, Julie have endeared themselves to Tiktok users and shoegaze enthusiasts alike via their noisy, cathartic take on the genre and their carefully curated, all lowercase aesthetic. This cult following is sure to be delighted by their first album, my anti-aircraft friend.
The debut record is the band’s most fully realised execution of these ideas yet, burying listeners in a constant cloud of deafening guitars and difficult-to-penetrate lyrics. Flitting between two vocalists as needed, they offset soft harmonies and straightforward phrasing with near-constant torrents of scuzzy strums and feedback.
There are some obvious reference points on the record — nods to Kurt Cobain and to the pioneers of shoegaze — but Julie don’t rely on these influences too heavily. my anti-aircraft friend isn’t just a 1990s nostalgia trip, it’s an album that updates those genres for a modern audience and executes the collective vision of Julie in the process.
Purgatory – The Mystery Lights – [3.5/5]
These days, it’s not hard to stumble upon bands who dedicate themselves to creating music that sounds as though it could’ve emerged from a different decade. Many bands out there are desperate to recreate those enthralling garage-psych sounds that defined the 1960s, and The Mystery Lights are one of the most authentic.
Purgatory truly sounds like a record plucked from a different time period, borrowing from the forgotten garage rockers of the era, British Invasion bands like The Kinks, and even surf rock acts like Dick Dale. While it would be nice to see the band expand their sound a little, the album is still packed with short and sharp tracks that certainly don’t disappoint. If you’re into 2010s-era neo-psychedelia or just classic ‘60s DIY rock, this is an album for you.
Performance – TR/ST – [3/5]
Offering a compelling yet strangely uneven journey through electronic and atmospheric experimentation, TR/ST shines with Performance, a record brimming with the highs and lows of Robert Alfons’ creative vision. From the moment the needle drops, it becomes clear that this is an artist unafraid to explore unconventional territory, using ambiguous sounds and rhythms to create a rich and dense experience that borders on disorientation.
While not every track lands perfectly, there is an undeniable sense of authenticity and passion that permeates the work, making it a fascinating listen for those willing to navigate its twists and turns and not lose sight of its meaning along the way. Performance may not be entirely flawless, but it certainly establishes a distinctive voice that is as unpredictable as it is intriguing.
Everything Matters, Everything’s Fire – Lunar Vacation – [3/5]
When Lunar Vacation first broke out, they had the vigour of youth on their side. They were just high school kids put together by a teacher who suggested they should jam together. But the thing with that is that it’s easy to be “great for your age” when you’re an indie band of teenagers in Atlanta, Georgia. Now grown up, Everything Matters, Everything’s Fire, is the band’s attempt at being simply great, full stop.
In moments, they manage it. There is no denying the step up in polish from their 2021 debut record. This new one is expertly crafted, perfectly mixed and littered with interesting little instrumental details that sit amongst it all, fading in and out of headphones to make for a fully realised and glossy release. It’s also easy to see the development of the band as individuals and as a unit.
But polished sheen doesn’t make a great album. Too often, we think of fine-tuned little details being a sign of high quality. But a great album needs to have great energy first and foremost, with something to say and something to hook people in and keep them hooked song after song, whether that be through great lyrics or bold musical choices. On Everything Matters, Everything’s Fire, the album is polished and perfected but not quite as vibrant as hoped.
Hysterical Strength – Deadletter – [2.5/5]
On their new album Hysterical Strength, Deadletter reached new indie heights by being one of the most talented bands ever to make a record that is so very difficult to get through. We’re subject to excellent musicians and a poetic mind throughout, but what we end up getting is a repetitive album, and it is a relief to hear the end of it.
There is no suggestion that this is the same song ten times over. Because it’s not, but it’s also not far off. The tone of most tracks remains consistently chaotic, and even those that feel more melancholic, stripped back and questioning only do so for 45 seconds before we’re back into the band’s signature blend of funk, mess, jazz, free jazz, and spoken word. It sounds great for a few songs, but after a whole album, it feels drawn out, boring, and oddly hollow.
There is no denying that Deadletter are a gifted bunch, but this album falls into such a repetitive pattern that it becomes hard to look past its flaws. Here’s hoping they keep making music and continue experimenting with new things; there is certainly potential – from the duelling guitar work to the effusive energy, much of the record is creditable – but with Hysterical Strength, they have latched on to the same idea so tightly, so unrelenting in their grip, that it feels played-out, dull and overblown before the end of song five.
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