What I really admire about Cameron Picton’s (black midi) solo project is that it doesn’t feel like a collection of songs, but like a truly cohesive album: the clearest sign is that, once it ends, you want to start it over.
It’s a carefully constructed journey; it takes you by the hand, yet reveals its edges through each transition, moving between the baroque and the intimate. Baroque pop, chamber folk, MPB, flamenco, yacht rock, and echoes of the Canterbury Scene, fused into a ... read more

It has a character close to Parquet Courts, dirty and visceral. The voice carries a frontal charisma reminiscent of Phil Lynott. Brief, razor-sharp songs played like it’s the last time.

Dry Cleaning transforms its laconic gaze into something more utopian than dystopian. Something intimate and livable.

The music of The Cords, a duo made up of two Scottish sisters, is niche. It’s for those who love Twee Pop, the C86 scene, or who treasure the early days of R.E.M.—that’s me. But, in truth, I think what these girls do is remind us of and reintroduce us to a time when simple, innocent music had a natural beauty—free of constraints and pretension.

It recalls the frenetic energy and classicism of There Will Be Blood and The Master, while at the same time engaging with the experimentation of Jon Brion in Punch-Drunk Love.
A distinctive element is the wavering guitar, which suggests a western atmosphere without falling into cliché. Its presence leans more toward forms such as the bolero or American primitivism.

Cameron Winter’s solo record pushed Geese to refine and focus their sound: they no longer come across as just a revivalist band, but as a group clearly headed toward the future.

It isn’t a rock opera, but every song seems to carry the ambition of one. Though rooted in the familiar terrain of heartland rock, it ventures into textures that recall Dorothy Ashby’s Afro-Harping.

Sounds like Garbage meets Cibo Matto’s Shibuya-kei: shimmering layers, ’90s nostalgia, and reinvented playful pop.

I never thought I'd hear a new album by Jonathan Richman in 2025. I loved it! It's a pop testament to simplicity in the face of saturation (in this case, overproduction).

In these synthetic and cold times, Richman's music is a warm and encouraging respite…

Headlights sounds as if Alex G had decided to record pop songs without fear of letting childhood, clumsiness, and intuition seep through the cracks. There are almost childlike, whimsical gestures that recall Tiny Tim in their unapologetic embrace of the eccentric, yet these very impulses are contained within compositions that know exactly where they’re headed: the immediacy of The Replacements’ power pop, the emotional fragility reminiscent of Elliott Smith, and that unpredictable ... read more

Belafonte Sensacional's LLAMAS, LLAMAS, LLAMAS combines cumbia, rock, and hypnagogic pop textures with an attitude close to slacker rock, in the vein of Pavement. The album relies on loose structures, phrases bordering on dry humor, and a production that prioritizes atmosphere over precision. While the title and cover suggest a more explosive energy, the entire album is short and restrained, with songs that build a mood rather than a narrative. The concept feels somewhat limited by its ... read more

Thanks Maria, spring has officially begun.

In 'Resonance', Bill Fox constructs an intimate and timeless universe with the bare minimum: acoustic guitar, a warm voice, and unpretentious lyrics. With disarming simplicity, he takes us into everyday scenes that, though simple, speak volumes. Like Raymond Carver, Fox narrates with economy and emotional precision; like Elliott Smith or Daniel Johnston, he sings without hiding his wounds. He doesn't imitate, he suggests: an open window, a cup of coffee growing cold, the echo of ... read more

Something surprising and difficult to classify: a sonic catharsis of “cumbiagaze.”

I'm not a big fan of the rock band Geese, but Cameron Winter's solo debut is much more interesting. His songs have a simple nature but with an unexpected depth, and with a dizzying voice very close to soul, he projects the poetics of the imperfect.

A very interesting and very risky band. Their debut album jumps between a delicate soul and an abrasive slowcore: Roberta Flack with Slint as the accompanying band.

THIS ALBUM IS WONDERFUL! A glorious double album, unexpected but much needed. Hypnagogic pop, with hints of 60's girl bands. It makes me imagine that The Velvet Underground released their "White Album".

Mix floating in the sky and crawling on the ground: a tightrope between shoegaze and college rock/slacker rock.

Obrigaggi…
An ideal album to listen to at dawn.

Diles Que No Me Maten take an interesting direction, more inclined to SLOWCORE, remembering bands like Red House Painters, Duster, Bedhead and Slint.

Sensory and atmospheric, with precise lyrics and arrangements: nothing is missing, nothing is left over.