Waxahatchee is an American indie music project, formed in 2010 by American singer-songwriter Katie Crutchfield, previously a member of P.S. Eliot. The band is named after Waxahatchee Creek, in Alabama, where Crutchfield grew up.

Plastic Cough, the fantastic debut full length from Seattle WA's Great Grandpa, is bursting with grunge and pop sensibilities focused around the legendary indie rock sound that's dominated the Pacific Northwest music scene for the past three decades.
Great Grandpa began in Seattle in 2014 when guitarist & vocalist Patrick Goodwin recruited bassist Carrie Miller, drummer Cam LaFlam, and vocalist Alex Menne to form a humble rock band. Inspired by the pop-sensible alternative rock of the 90's, and offset by a mutual love for noise and math rock, the group set forth to write and record their first EP.
During recording, guitarist Dylan Hanwright joined the group, solidifying the lineup. Great Grandpa began performing in the Seattle area in late 2014, frequenting the city's DIY venues. In March of 2015, their debut EP Can Opener was released on Broken World Media. The EP was met with considerable praise, and has been described as "warm, slightly off-kilter grunge pop", and "knotty, twisted, and warm rock music that's as melodically satisfying as it is, at times, confounding."
Great Grandpa began writing their debut LP soon after, and found themselves touring the western US and performing extensively in the Seattle area. Written in 2015 and 2016, Great Grandpa's debut LP Plastic Cough continues to explore the sonic territory visited in Can Opener, exhibiting infectious melodies across a range of backdrops, from quiet bedroom-pop to explosive, anthemic rock. Plastic Cough is out July 7th via Double Double Whammy.

'Three Futures' is the title track from TORRES' new album, which is released 29th September on 4AD.

This is the musical response that dark times demand, one that not only shakes its fist but deploys it. Locally-informed global citizens, Algiers refuse to sit idly by while most contemporary artists appear perfectly content to sit out the revolution. Not only do Algiers harbor a purposeful sense of obligation in what they do on their latest resistance record The Underside Of Power, but they recognize the roots and thorns of precedent in said resistance. Beyond the technical necessities living their respective lives both in and outside of music, Algiers’ continued deviation from a more traditional band approach created a more versatile sound, one that better incorporates a collective and respective panoply of influences and styles. Some of this is informed by their choice of collaborators in this process, a crew that includes Adrian Utley [Portishead], Ben Greenberg [Uniform, The Men], Randall Dunn [Sunn 0)))], among others. Pick any track off The Underside of Power and the reference points expand exponentially, a dizzying and thrilling Recommended-If-You-Like list that would consume a series of afternoons. Poke at the seasoned members’ bruised flesh, and out come wafting touchpoints as disparate and intriguing as Big Black, Wendy Carlos, John Carpenter, Cybotron, The Four Tops, Portishead, Public Image Limited, Steve Reich, and Nina Simone, to name but a few. Deep echoes of Black Lives Matter and its 20th century forbears gather, surge, and subside in their often soulful work, a form of principled, acute dissent more interested in learning from the past than in evoking nostalgia.

The sophomore album from Boston trio Palehound, A Place I'll Always Go, is a frank look at love and loss, cushioned by indelible hooks and gently propulsive, fuzzed-out rock.
Ellen Kempner, Palehound's vocalist, guitarist, and songwriter explains, "A lot of it is about loss and learning how to let yourself evolve past the pain and the weird guilt that comes along with grief."
Kempner's writing comes from upheavals she experienced in 2015 and 2016 that reframed her worldview. "I lost two people I was really close with," she recalls. "I lost my friend Lily. I lost my grandmother too, but you expect that at 22. When you lose a friend—a young friend—nothing can prepare you for that. A lot of the record is about going on with your life, while knowing that person is missing what's happening—they loved music and they're missing these great records that come out, and they're missing these shows that they would've wanted to go to. It just threw me for a loop to know that life is so fragile."
Palehound's first release for Polyvinyl is also about the light that gradually dawns after tragedy, with songs like the bass-heavy "Room" and the gentle dreamy album closer "At Night I'm Alright With You" feeling their way through blossoming love. "The album is also about learning how to find love, honestly, after loss," says Kempner.
Since forming in 2014, Palehound—Kempner, drummer Jesse Weiss (Spook The Herd), and new bassist Larz Brogan (a veteran of Boston DIY who, Kempner posits, "had 13 local bands last year")—have taken their plainspoken, technique-heavy indie rock from the basements of Boston to festivals around the world. A Place I'll Always Go was recorded in late 2016 at the Brooklyn complex Thump Studios with the assistance of Gabe Wax, who recorded Dry Food. "I would put my life in his hands," Kempner asserts. "I trust him so much."
A Place I'll Always Go builds on the promise of Palehound's critically acclaimed 2015 album Dry Food with songs that are slightly more reserved, but no less powerful. "Flowing Over" rides a sweetly hooky guitar line, with Kempner using the fuzzed-out upper register of her voice as a sort of anxious counterpoint to the riff's infectious melody. "That song is about anxiety," says Kempner, "and when you're sad and you listen to sad music to feed it and feel yourself spinning all these 'what if's and 'I'm terrible's in your head."
"This record represents a period of time in my life way more than anything I've ever written before," says Kempner, who notes that the swirling "If You Met Her" and the piano-tinged "At Night I'm Alright With You" could represent the opposing poles of the record. "One of them is about love, and the other one is about death—it was a really healthy experience for me to find my own dialogue within that," she says. "There's so much that you learn and read, and other people's experiences that you internalize, that you try to then base your own on. It was helpful to carve my own path for that."
Part of what makes A Place I'll Always Go so striking is the way it channels feelings of anxiety -- heart-racing moments both exhilarating and crushing -- into songs that feel well-worn and comforting.
The hushed confessionalism of "Carnations" and the fugue state described in the stripped-down "Feeling Fruit" are snapshots of moments marked by big, confusing feelings, but they're taken with compassion and honesty—two qualities that have defined Palehound's music from the beginning.

On the heels of their critically acclaimed EP, This Desert, Brooklyn's The Hundred in the Hands will release their debut full-length Sept 21 on Warp Records. The Hundred in the Hands LP is an album of deceptively complex pop songs which hark back to the dance music of NYC's storied underground. Where their recent EP feels like a summertime pop dream. HITH's forthcoming album conjures the spirit of downtown's mutant disco scene as made legendary by clubs like the Paradise Garage. Its a product of DIY home recording plus a series of studio sessions in London and New York with contributions by producer friends including Jacques Renault, Richard X, Eric Broucek and Chris Zane.
HITH's is Eleanore Everdall and Jason Friedman. The two live in Brooklyn and discovered their shared sensibility for early hip-hop, French house and disco, ska and dub, post-punk, British invasion-mod and girl pop from the 60's thought the 80's and decided to form a band. Their first song - the post punk rave up 'Dressed in Dresden'- was written and recorded in a couple days, released on line, picked up and released as a 45 by a record shop in the UK where they were soon playing shows and coming to the attention of Warp Records. Meanwhile, the two retreated to a bunker to write and record. During that time, Friedman and Everdell focused on deciding exactly who they wanted to be. What they discovered and emerged with were 11 startling new tracks and a precise and deliberate sound.

Karen Gwyer returns to cement her reputation as one of the most individual and daring voices in dance music with ‘Rembo’, her first full LP for Don’t Be Afraid. Reflecting the sheer energy of Gwyer’s improvised, undulating and unpredictable live shows, ‘Rembo’ captures Gwyer in her element as a techno producer not afraid to smudge both the physical and emotional edges of what we may have come to expect in the club. I do think the dance scene right now is so rigid, explains Gwyer. And I’m not really sure why producers are seen as less desirable as DJs. Perhaps there’s a prejudice that implies that DJs are more engaged with the crowd, that they can take the vibe in the room and run with it, and I don’t really hear people say that so much about producers playing live.
Live performance is where Gwyer’s ideas come into gradual but vivid fruition, with tracks often evolving over five or six shows before reaching the studio. Here, Gwyer endeavours to capture the same transcendent energy that has seen her enrapture audiences at international events such as Mutek and Unsound, and in support of contemporaries such as Laurel Halo, Kassem Mosse and Factory Floor. Throughout ‘Rembo’, dozens of shows and endless stolen studio hours have informed 38 minutes of uncompromising body music. What I’m doing is trying to challenge a certain way of thinking, she continues. I feel like, without it being said, I get treated as a warm up act for DJs. And I also feel like when I go and play, I want to disprove that notion. I’m standing there for an hour, and I don’t necessarily know what’s going to happen. I have a loose idea, but I’m definitely working the crowd. I’d like people to shift their thinking in regards to what producers are doing, and to acknowledge the fact that there’s a lot of decision making happening on a second-by-second basis, and a lot of it is improvisational.
Each of the album’s eight tracks are paired together to offer a different, ambiguous call and response through their wholly unusual titles. Opening the LP, the brooding cosmic unravelling of ‘Why Is There A Long Line In Front Of The Factory’ only offers a smudge of a kick, before, subverting her reputation for more contemplative excursions, Gwyer responds matter of factly with ‘The Workers Are On Strike’. Pounding drums hammer down a paranoia inducing synth, establishing the relationship between Gwyer’s striking, skeletal rhythms, as well as her natural tendency to keep making things weirder, a tension that accompanies listeners further down Rembo’s idiosyncratic rabbit hole. ‘Why Don’t You Make Your Bed’ is equal to the melancholy dread induced by it’s title, albeit sounding less domestic than positively interplanetary. Before long, it’s wistful counterpart, ‘Because It’s Not Worth The Bother’ lets us off the hook in a shorter sketch of fluttering chords. ‘Why Does Your Father Look So Nervous’ racks up the Drexciyan tension, before ‘He’s Been Teaching Me To Drive’ responds with elasticated psychedelic techno, an almost overcoming level of detail slowly building and replicating the overwhelming sensations induced in sweat-drenched club spaces. For the record’s final chapter, ‘Did You Hear The Owls Last Night’ seamlessly blossoms from a hardboiled percussive assault into a vibrant swell of ethereal chimes. Finally, ‘Yes, But I Didn’t Know They Were Owls’ concludes the LP with a slowly-stepping arrangement that nods to the futurist leanings of Detroit techno.
Throughout her youth in Michigan, with Detroit on the nearby horizon, the city’s time-honoured musical heritage slowly sank under Gwyer’s skin. First through public radio, late night transmissions and endless cassette recordings, then on the life-changing local rave scene. Before the internet came along, you were listening to the radio, and you knew who the DJ was, but you had no earthly idea who the records were by, recalls Gwyer. You just listened to the music, and you didn’t listen to the people. And because you didn’t ponder their personalities, you weren’t engaged in the process. And I loved it, it was pivotal to me. I still have records on tape, and I have no idea who made them. I lie awake at night thinking about how am I ever going to find out what that track is? I have a snippet of it in my mind, but how will I ever know? ‘Rembo’ then, is in some way a tribute to those transformative moments caught on tape. And while the pressures of raising a young family means that Gwyer has fresh pairs of young ears to potentially inspire, instead, this is a record that calls firmly to the night; an album to transport both artist and listener to dark, sweaty rooms, to shared escapism and unexpected moments of electronic transcendence. From the first note forward, on record and in the club, Karen Gwyer is an artist in total control, no matter where she ends up taking us.

Stay on It(1973) for no fixed instrumentation, although piano, percussion, and voice were always included.
If You're So Smart, Why Aren't You Rich?(1977) for violin, 2 French horns, 4 trumpets, 2 trombones, tuba, piano, 2 chimes and 2 basses.
The Holy Presence of Joan d'Arc(1981) for ten cellos.
Gay Guerilla(ca. 1980) for any number of similar instruments, most commonly 4 pianos.
Evil Nigger(1979) for any number of similar instruments, most commonly 4 pianos.
Crazy Nigger(ca. 1980) for any number of similar instruments, most commonly 4 pianos.

The long-awaited return of Brooklyn's Beach Fossils, Somersault showcases a band in bloom. Charting into new musical territory with a refined songwriting style, it's an album that captures flashes of life in New York grounded in personal experience. As the band's first release on Dustin Payseur's new label Bayonet Records, which he co-owns with wife Kate Garcia - the group made the most of their newfound independence, investing ample time in expanding its range both musically and lyrically. While Payseur handled the bulk of the songwriting duties in the past, Somersault is a true collaboration between the founding member and bandmates, Jack Doyle Smith and Tommy Davidson. Augmented with more complex instrumentation, including string arrangements, piano, harpsichord, flute, and sax, the new songs offer multi-layered pop guided by sharp, poignant, and honest lyrics. Orchestral pop gem "Saint Ivy" shines with plucked strings, buoyant basslines and a propulsive, wayward, guitar. "Tangerine", a driving, tightly wound melody, rushes forward and briefly leaves the ground due to the gossamer guest vocals of Slowdive's Rachel Goswell. The cloudy, wistful "Social Jetlag," bustling with samples of crowded streets, features the type of candid, off-the-cuff lyrics that make the entire effort immediately illuminating. Somersault evokes the laid-back mood of a warm, breezy city night, the air crackling with humidity and excitement. These songs pulse and pull, capturing a blend of promise and heartache. It's beautiful and layered, a refined, sweeping creation that threads together numerous styles, textures, and themes into a refreshing, singular vision.

Emily Wells (born November 20, 1981) is an American multi-instrumentalist, vocalist, composer, arranger, and producer whose genres encompass alternative, experimental, and classical.

All songs written and performed by I/O
I/O is:
Tyler Hicks
Jordan Rich
Chatchon Srisomburananont
Mackenzie Tate
Teddy Murphy
Sean Camargo
Cory Best
Produced by Tyler Hicks and Jordan Rich
Engineered by Tyler Hicks, Dylan Sylvester, Jordan Rich
Mixed by Matthew Silverstein
Mastered by Mike Kalajian at Rogue Planet Mastering
Album Artwork by May Xiong
Additional Engineers - Chatchon Srisomburananont, Cory Best, and Andre Bellido
Additional Instruments -
Alec Alabado - Trumpet / Dan Lay - Viola / Jody Miller - Violin / Gary Kerkezou - Violin / Bebe H. Kim -Violin / Johnny Mok - Cello / Becca Barron - French Horn / Cameron Thrower - Trombone

Sufjan Stevens (/ˈsuːfjɑːn/ SOOF-yahn; born July 1, 1975) is an American singer, songwriter, and multi-instrumentalist. He has released a total of seven solo studio albums as well as multiple collaborative albums with other artists. Stevens has also received Academy Award and Grammy Award nominations.