All The Best New Indie Music From This Week

Deputy Music Editor
08.28.18

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Indie music has grown to include so much. It’s not just music that is released on independent labels, but speaks to an aesthetic that deviates from the norm and follows its own weirdo heart. It can come in the form of rock music, of pop, or of folk. In a sense, it says as much about the people that are drawn to it as it does about the people that make it.

Every week, Uproxx is rounding up the very best of the indie releases from the past seven days. This week offered up the latest new records from Interpol and Blood Orange, the debut of supergroup Boygenius, and an Empress Of track that quickly jumps into the Best Of The Year conversation. It was a pretty great week for indie music.

Interpol — Marauder

Consistency is one of the best things a band can strive for, and Interpol’s ability to turn out a product that always sounds like themselves and still pushes their music to new creative peaks has made them one of the most enduring bands of the aughts. In his interview with the group, our own Steven Hyden notes that “Marauder puts the focus on the fiery interplay between the musicians.” When a band knows each other as well as these guys do, that’s a recipe for another memorable work.

Blood Orange — Negro Swan

Dev Hynes has made a name for himself both as a producer/songwriter for others (including the likes of Solange, Carly Rae Jepsen, and Haim) and for his own stellar Blood Orange project. His music can often feel fluid, with ideas pushed up against each other, rapidly shifting into the next. On his latest, our own Aaron Williams writesNegro Swan is him granting permission, although it should never be needed, to grant yourself grace and the room to be yourself in all your ill-fitting inconvenience. Who cares what the establishment has to say? You belong.”

Lost Under Heaven — For The Wild

Since Wy Lyf unceremoniously ended in 2012, leader Ellery James Roberts has been making music with Ebony Hoorn as Lost Under Heaven, or LUH. Roberts’ voice remains as desperate and toasted as ever, but the project feels to be in a constantly evolving nature with this trio of new songs. One tune finds Hoorn taking a role at the center — and all are absent of the Haxan Cloak production that helped make their first album so memorable — but Roberts can craft an epic at will and these songs all go for broke, making LUH’s ambition their greatest asset.

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