The Alternative Album Chart: The best new indie albums this week
The science of when to release an album is strange one. Labels genuinely pore money and resources into this study, and it would seem from the rather slight list of releases this week that the first week in August isn’t deemed a favourable one. Why? Absolutely no idea, but this is the leanest week of the summer so far.
Maybe it is because people have floated off on their holidays, or maybe there is a slight dip in the festival season as people regroup and patch holes in their tents, but for some reason, album releases take a dip this week. Alas, that creates somewhat of an open goal for those who have seized this sparsity and turned it into an opportunity.
Last week we had The Clientele return with a cracker, no-wave legends Bush Tetras release only their fourth LP despite forming in 1979, and Jessy Lanza provide some creditable club-focused beats for the holidaying crowds to enjoy. This continued a cracking summer of music where releases from Guided by Voices, Moon Panda, Being Dead, and Maya Ongaku have also been stand-outs.
Below, we have the return of Miles Kane to indie boppers, a debut of potential from Art School Girlfriend and some quirky obscurities for your perusal. Enjoy the good, the bad, and the ugly amid this week’s (slightly smaller than usual) indie offerings below.
The best new indie albums this week:
One Man Band – Miles Kane – 4/5
One Man Band sees a return to Miles Kane’s signature guitar-infused energy, with big hooks and classic indie bangers. The record feels like everything Kane has been building up to – it’s urgent, and it’s sharp, with all of the charm of his previous albums but with an added flavour of home. But that’s not all that there is to the record; it’s also deeply personal. Kane returned to his home city of Liverpool to write the album, embracing his roots and family head-on to uncover all of the reasons he fell in love with music in the first place.
It is a homage to all of the music he loves, with borrowed elements of rock, northern soul, and pop. Above all, it’s all just a bit of fun, really, and Kane has always knowingly shone through in the moment. But that’s the appeal; Miles Kane is one of the most passionate and approachable artists out there, who truly enjoys what he does and embraces all those willing to join him for the ride. One Man Band feels exactly like that. [Words: Kelly Scanlon]
The Infinite Spine – Lauren Auder – 3.5/5
A strange implacable energy pervades The Infinite Spine throughout. What are we meant to be feeling here? You often ask yourself over the course of Auder’s unusual experimental record. It is lush, but you’re perturbed; it seems suddenly joyous, but it follows something so stark that you barely realise. And among this are a string of unexpected hooks, toe-tappers deeply obfuscated by the clouds of mood and emotion.
Auder’s honesty is another element that shines throughout the album. The lyrics are often so deeply personal that they give you an uneasy feeling, but that is all part of the endearing charm. It makes for a singular record that draws you in with a riptide and lets you loose in a whirlwind of emotion and jagged electronica.
Prestige – Girl Ray – 3/5
British trio Girl Ray have returned with their third effort, Prestige, which sees them try their hands at disco. While their last record, Girl, demonstrated an interest in pop music, Prestige sees the band experiment with broader influences, making for a surprising yet refreshing listen. The band states that the new album was inspired by the way disco was used as a mode of expression and celebration by queer and marginalised communities in the 1970s.
Prestige has its highlights, yet, the lack of musical diversity present on the album prevents the band from showcasing their true capabilities, which are lurking in small glimpses of excellence. While the record certainly has plenty of fun moments perfect for dancing, especially with your friends, it doesn’t feel like Girl Ray have truly achieved the expansive, celebratory sound they set out to create. [Words: Aimee Ferrier]
Destroyer – M.A.G.S. – 3/5
The work of M.A.G.S. is an oddity. There is a definite hint of emo-rock in the welter, a dose of ’00s British indie, elements of garage distortion, poppy melodic toplines, but then the odd flourish or something closer to Frank Ocean as washed-out synths provide texture to the guitars. This makes him somehow both challenging and accessible. Destroyer is no different.
The stunning album artwork hints at a textural moodiness within. He is a supreme singer, and he ladles in plenty of emotion – sometimes touching on the affected facsimile – but these strangely mix with some relatively pop-centric riffing. This makes for an interesting listen that always keeps you guessing.
Soft Landing – Art School Girlfriend – 2.5/5
It’s only been two years since Welsh indie-techno producer Polly Mackey released her first album as Art School Girlfriend. That record, Is It Light Where You Are, was dreamy and light as air, but it didn’t take long for Mackey to feel like she had already moved on. “By the time it was out in the world, I felt unattached to it,” she claimed. “This new record truly feels like my debut”. With a notable turn to darker sounds and themes, we’re now getting her follow-up, Soft Landing.
If your music tastes angle closer to Aldous Harding or, at the very least, some of the darker corners of Mitski’s catalogue, then Art School Girlfriend will be a welcome addition to that collection. Otherwise, it seems that Mackey’s best work is still ahead of her. A clear amount of talent and attention to detail from its creator isn’t quite enough for Soft Landing to differentiate itself within the dense landscape of indie music, but I wouldn’t be so quick as to dismiss Mackey. If nothing else, Soft Landing is a solid appetizer for whatever comes next from Art School Girlfriend. [Words: Tyler Golsen]
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