Guster's ninth studio LP, Ooh La La reveals a band fully in touch with thevoracious creative energy that first inspired their formation. A major leapforward for lead vocalist Ryan Miller, guitarist Adam Gardner, drummerBrian Rosenworcel, and multi-instrumentalist Luke Reynolds, OohLa La ultimately matches that wide-eyed spirit with a newly heightened senseof confidence, conviction, and commitment to the raw sincerity that's madethem so beloved.The follow-up to 2019's Look Alive, Ooh La La marks a bold departure from it'spredecessor. This time around, the band worked mainly with producer JoshKaufman (The Hold Steady, The National, Bonny Light Horseman), holing upat Isokon Studio in Woodstock and carving out a lush and expansive sound richin acoustic guitars and graceful piano work. With additional production fromRon Aniello (Bruce Springsteen), Rich Costey (Death Cab for Cutie, OfMonsters and Men), and Primarily mixed by Peter Katis (The National, KurtVile), the result endlessly radiates an undeniable warmth, even as it's songsdelve into the more daunting aspects of living in modern times.

Capturing all the intimacy and the amp-hum in its unfussy, impromptu recording sessions, Lemon Law is dripping with atmosphere. The buzzing of that cable, that weird phase-y sound from the un-gated mic. It's all here. The lack of overdubs might even make Neil Young jealous. The complexities and the intricate arrangements feel easy and natural, and naturally nostalgic. It's all vaguely familiar and new at the same time.

The American Analog Set is an Austin-based indie rock, lo-fi band. They have released seven studio albums, on the record labels Emperor Jones, Tiger Style Records, and Arts & Crafts. Formed in 1995, the group's early sound was highly influenced by krautrock and post-rock and British shoegaze bands like Cocteau Twins, often featuring long instrumental passages. Over time, their songs became shorter and more pop-influenced. The band has released seven full-length albums, four EPs, and several singles.

The American Analog Set is an Austin-based indie rock, lo-fi band. They have released seven studio albums, on the record labels Emperor Jones, Tiger Style Records, and Arts & Crafts. Formed in 1995, the group's early sound was highly influenced by krautrock and post-rock and British shoegaze bands like Cocteau Twins, often featuring long instrumental passages. Over time, their songs became shorter and more pop-influenced. The band has released seven full-length albums, four EPs, and several singles.

Culled from half a decade of home four-tracking, Remote Echoes is a hissy, crumbly, and ungrounded expression of Clay Parton and Canaan Amber’s ongoing Duster project. A mix of cassette only demos released under the banners Christmas Dust and On The Dodge, this 14 track album also includes a bevy of previously unissued stragglers. Duster’s unique blend of fuzzy guitars, bargain synths, muffled percussion, and hushed vocals anticipated chillwave, mumblecore, and corecore, elegantly illustrating the holy trinity of slacker vices: cigarettes, coffee, and the weed supreme.

In 1983, Nancy Andrews and Linda Smith shared a big house in Baltimore with a continuously revolving cast of artists and musicians. It was there the like-minded artists formed their first band, Ceramic Madonna Head (with Plastic Arms), a short-lived project which included housemates Elizabeth Downing and Peggy Bitzer. By the time the lease was up, Linda and Peggy had decided to move to New York where they would form a new band called The Woods while Nancy and Elizabeth remained in Baltimore and formed a performance art band called Lambs Eat Ivy.

As one of Iceland’s most successful exports, singer-songwriter Ásgeir has always pushed the boundaries of his thoughtful brand of folk-pop. On his new lo-fi interpretation of the album ‘Time On My Hands’, he’s captured an authentic style by recording acoustically, direct to a four-track tape recorder. The rework album is out on September 8th on One Little Independent Records.

SO THIS TAPE STARTED while the entire band was decamped at an undisclosed location working on the next Mountain Goats album, and I had brought books with me to read, and one of them was Pierre Chuvin’s A Chronicle of the Last Pagans, which I was reading as research material for another thing I’m working on; and it’s been a long time since I sat around playing music and thinking about antiquity, but I used to do it all the time, and several of you know that because the old tapes are all littered with stories about Ajax and Agamemnon and the cult of Cybele, stories which, when I was learning them, got me so fired up that as soon as I got out of class I’d drive home in my yellow 1969 Superbeetle and write songs about them.

Martha Spencer is a singer-songwriter, mountain musician and dancer from the Blue Ridge Mountains of Virginia. She grew up in the musical Spencer family and from a very young age has been dancing (flatfoot/clog), singing, and playing guitar, fiddle, banjo, bass, dulcimer, and mandolin.

Locust is the new solo album from Jeff Clarke (The Black Lips/Demon's Claws). A stripped-down, melancholic change of pace from the Canadian singer-songwriter. Clarke's sincere, poetic texts are accompanied only by his acoustic guitar. The warm, dreamy, minimalist folk sound is enhanced by the recordings themselves – all done in a single session, outdoors in a forest north of Berlin.

Arrestingly singular and deeply moving, this 1988 album by Choctaw, Assiniboine, and Texan poet, journalist, artist, activist, and musician Roxy Gordon (First Coyote Boy) (1945-2000)-whose long out-of-print work has been acclaimed by friends such as Townes Van Zandt, Leonard Cohen, and Terry Allen-sets his cold-blooded, bone-lean reflections on the complexities and contradictions of American Indian (and American) history and identity to atmospheric, synth-damaged country-rock that skirts ambient textures and postpunk deconstructions.

God” figures in the new album from Philadelphia, PA based Alex Giannascoli's LP’s title, its first song, and multiple of its thirteen tracks thereafter, not as a concrete religious entity but as a sign for a generalized sense of faith (in something, anything) that fortifies Giannascoli, or the characters he voices, amid the songs’ often fraught situations.

This Valley Of Old Mountains quietly creates the folklore of an imaginary land. From a hemisphere apart, Taylor Deupree and Federico Durand share simple sounds with complex stories. Their music balances an edge between translucency and exploration, focusing on obscurity, repetition and a shared fascination of the mountains between them.

"Sometimes, Forever refers to the idea that the good and bad are both temporary and always returning. Feelings of sorrow and emptiness will pass but they will always come back around, as will feelings of joy. This album explores many ups and downs. It moves from the high of love to hopelessness and disconnect. A frustrated loss of control over life and a disconnect from the self reoccur throughout the record, only to circle back to a willingness to let go and be free, whether through love (shotgun, with u) or blissful ignorance (don’t ask me). It’s a coexistence of light and dark, not only lyrically but tonally. Dan once called it the angels and demons record lol."

Chicago trio Horsegirl release their debut record, Versions of Modern Performance, on Matador. Penelope Lowenstein (guitar, vocals), Nora Cheng (guitar, vocals), and Gigi Reece (drums) - the best friends comprising Horsegirl - do everything collectively, from songwriting to trading vocal duties and swapping instruments to sound and visual art design. The warmth and strength of their bond crackles through every second of their debut. With lyrics intentionally impressionistic and open-ended, and a sound that ranges with joy and enthusiasm across a range of styles, Versions of Modern Performance offers many pathways.