An exclusive first taste of the BJM tambourine man’s solo debut!
Seattle-based indie-poppers tease the ears of listeners with a quick two-song blast of pop!
Roger Eno’s latest—and a second collaboration with the group Plumbline—is a fine (if not unsurprising) collection of ambient compositions and gentle melodies.
Eddie Spaghetti offers up his first-ever solo album of all-original material, and though it’s a fun ride, underneath the sexy cover art, you’ll hear some of his deepest, most introspective—and best—songwriting to date.
JC Brooks & The Uptown Sound’s third album finds them eschewing most of the 60s-inspired retro soul of their previous album, in favor of a contemporary style that is much sexier and romantic. This is a very good thing.
Drivin’ n’ Cryin’ are on a roll with this, their third thematically-linked EP released in the last year. This time, they take on psych-rock, and do so with aplomb.
We have a chat with Matt Baber and Joff Winks of British-based Sanguine Hum, wherein we discuss the band’s recording process, their latest album, and the continuum of their friendship and musical collaborations.
Big Takeover is proud to present the exclusive first listen to the third album by British indie-rockers it hugs back! Click through for an interview with bandleader (and Wire guitarist) Matthew Simms.
The second duo to take on the mighty Everly Brothers catalog, the Chapin Sisters offer up new takes on old familiar hits.
Luke Winslow-King’s third album is reissued by Bloodshot Records and serves as a great introduction to a talented young man.
Masterful experimental artist David Grubbs turns in a lovely little new album, a little poppy, a little instrumental, and a whole lotta enjoyable.
Sunny indie-pop composer Allen Clapp’s latest album with his band The Orange Peels will shock longtime fans. We talk with Clapp about this darker direction and about taking risks with an established sound.
One of the biggest surprises of 2013 is the sudden return of Big Country, with The Alarm’s Mike Peters taking the place of the late Stuart Adamson. Peters superbly fits and he reinvigorates the band, resulting in one of the best records in the Big Country discography.
This young Cardiff-based indiepop quintet’s music lives up to its clever name.
Douglas McCombs’ resurrects his solo Brokeback moniker after a decade-long hiatus, and the album is an enjoyable—but too brief—return to form.
After releasing the excellent No Future, Oakland-based Wax Idols’ second album eschews that album’s punk-rock sound in favor of some of the best post-punk inspired music you’re likely to hear this year.
Though she’s released music for the past few years, Ripely Pine is the debut proper for Aly Spaltro, and it’s a stunner.
On the heels of a reissue of their sole album and a farewell series of shows, we talk with Norman Brannon, guitarist for the highly regarded band Texas Is The Reason, about their past and their present.
The superb and prolific Bristol-based indiepop band The Brilliant Corners finally gets the comprehensive singles collection it has long deserved, and is an essential compilation for both longtime fans and newcomer.
Brooklyn-based Pearl Necklace’s debut is an enjoyable introduction to a young, talented duo.
Dawn McCarthy and Will Oldham team up for a tribute to the Everly Brothers, and in turn, they turn in one of the year’s best records.
Parquet Courts is the offspring of the Brooklyn-via-Denton duo Fergus & Geronimo; instead of that band’s often confounding weirdness and diversity, this is a satisfyingly straightforward rock effort.
British-based quintet The History of Apple Pie offer up sweet, potent shoegazer-style dream pop on their impressive debut.
British newcomers Our Lost Infantry’s debut album is a potent mix of powerful singing and heavy instrumentation, a winning combination.
Ambient composer Nicholas Szczepanik quietly released a 43 minute drone piece over the holidays, and it’s worth seeking out.
EP number two in Drivin’ N Cryin’s four-ep saga, and this one is another powerful bolt of hard rock, Southern boogie, and just plain’ ol’ good time music.
Reissue of jazz master Gil Evans’ tribute to Jimi Hendrix fulfills a collaboration that was meant to happen but never came to pass, due to Hendrix’s sudden death.
R_Ring is Kelly Deal’s first new solo project in nearly a decade, and this debut single is a promising blast of rock and roll.
Australian indie-popper Bart Cummings’ infrequent Bart and Friends releases two lovely little EPs that add up to a dozen sunny, heartfelt indie-pop tunes. Pam Berry guests.
We talk with Swedish artist Tobias Isaksson, whose third band, Azure Blue, is a radical departure from his lovely sunshine pop of previous bands Irene and Laurel Music; his story is enhanced by the surprising commercial and critical success in Sweden and around the world.
Matthew Sims, leader of British band it hugs back, discusses the struggles and the hassles behind the making of their fine sophomore album, Laughing Party.
California-based The Dandelion War’s second album took two years to make, and the results show that it was well worth the wait.
Fishbone frontman Angelo Moore releases a fun summer solo single that’s as jaunty and energetic as his onstage appearances.
Norwegian electronic weirdos Mungolian Jetset’s third album is a collection of collaborations and remixes and cements their legacy as makers of odd yet satisfying music.
Austin, Texas-based Again, For The Win offer up a second album of powerful, loud, grand atmospheric rock and roll.
Southern rockers Drivin’ N Cryin’ release the first of four EP, and from the sound of it, it’s a strong return to form.
Ethan Miller, leader of San Francisco-based Howlin Rain, talks about the making of his band’s exciting new album, and the art of sequencing albums.
Hurray! Hurrah! Yippee! Yay! Huzzah! Phil Wilson took us to heart, reformed The June Brides, and here it is, their first new single in 26 years!!! It’s GREAT!!!!!
Sister duo CocoRosie release a brand new vinyl single with two strong songs; the big news, however, is that it is a new release on dormant label Touch & Go.
Icelandic composer Ólafur Arnalds’s soundtrack to Sam Levinson’s film is a subtle, sublime collection of melancholy instrumentals.
A repackaging of fIREHOSE’s major-label albums plus related B-sides and EPs proves that their surprising signing to Columbia was no fluke for either the band or the label.
After a decade of silence,the once highly prolific Jim Rao breaks his silence with a dozen—yes, a dozen—new albums released over the past few weeks; this one is merely a microcosm for the Orange Cake Mix scene, and a great introduction to a long-thought-lost artist.