Under-Appreciated Indie Albums That Were Released This Week

Getty Image

It has been reported that 99 percent of all music streaming activity comes from just 10 percent of all available songs, meaning that the most popular tracks are pretty much all most people listen to. Even if those reported numbers aren’t completely accurate, that still feels true. That’s great for those artists, but what about everybody else? What about the folks who don’t have as much promotional firepower in their arsenal but are still releasing terrific material that ought to be heard? Well, this is my small attempt to help level that disparity: A list of this week’s finest indie albums that you may not have heard, or even heard of.

There were some solid releases this week, including solo albums from members of The Killers and Bloc Party, as well as fresh post-rock from Mono, Japanese legends of the genre, so check it all out below.

Keuning — Prismism

[protected-iframe id=”ce2e9224dd62b74368093d8990227e75-60970621-76566046″ info=”https://open.spotify.com/embed?uri=spotify:album:5dg1SHWA8zp0LHm8yKeP2p” width=”650″ height=”380″ frameborder=”0″]

You’ve heard his work hundreds of times before thanks to his guitar work on The Killers’ classic songs, but now he’s stepping out on his own. There’s some similarity between his solo work and that of his band, like the synthy, guitar-driven rock of “Boat Accident.”

Kid Koala — Music To Draw To: Io

[protected-iframe id=”de9d5e5ecf86a66086a7a52edee67d56-60970621-76566046″ info=”https://open.spotify.com/embed?uri=spotify:album:5KpzxAiNtpOE1CueGnsW3G” width=”650″ height=”380″ frameborder=”0″]

Kid Koala is somebody else whose work is familiar, whether it’s his collaborations with Gorillaz, Deltron 3030, or others. The Canadian production wizard’s new album has some lovely moments, like the warm and synthy ambiance of “Lost At Sea.”

Mono — Nowhere Now Here

[protected-iframe id=”60a8a0067b6e67d5bf4c07cc4ef2b772-60970621-76566046″ info=”https://open.spotify.com/embed?uri=spotify:album:0tQuGkL3CFbIbbJJXmmd8N” width=”650″ height=”380″ frameborder=”0″]

This Japanese group is legendary in post-rock circles, and deservedly so. They make epic instrumental rock better than just about anybody else, and they showcase their ability to let a moment spread on songs like “Meet Us Where The Night Ends,” whose wordless wings are given room to soar.

William Tyler — Goes West

[protected-iframe id=”d7606cea9a10b837339db57a4a3336cc-60970621-76566046″ info=”https://open.spotify.com/embed?uri=spotify:album:0JbGIBNY8NDj1rpV6BAOCD” width=”650″ height=”380″ frameborder=”0″]

Tyler takes instrumental music in a different direction: His guitar is acoustic, and his compositions are decidedly more languid. For example, “Call Me When I’m Breathing Again,” is a soothing number and a three-minute respite from any place that stress could be inhabiting your brain.

Kele Okereke — Leave To Remain

[protected-iframe id=”78b5dd8a4dd540c2b00a200636c0a551-60970621-76566046″ info=”https://open.spotify.com/embed?uri=spotify:album:6phHpGLBISOUkgXuxqxnOG” width=”650″ height=”380″ frameborder=”0″]

It’s been a few years since Bloc Party’s most recent record, but now its frontman has shared another solo effort. It’s led by tracks like “Not The Drugs Talking,” a suspenseful and driving track that wonderfully blends propulsive electronica with the indie rock he’s best known for.

Rat Boy — Internationally Unknown

[protected-iframe id=”ee30cb9f026cfb7ad25c0c0765a4e2dc-60970621-76566046″ info=”https://open.spotify.com/embed?uri=spotify:album:6CmLr5c2MVLdQlhWgWdcJK” width=”650″ height=”380″ frameborder=”0″]

The English musician has made a name for himself on his side of the pond, thanks to his debut album that peaked at No. 15 on the UK charts, but as the album title suggests, he hasn’t broken out in a transatlantic way yet. He definitely offers something that’s not necessarily common these days: a combination of rock and hip-hop that’s not as cheesy as it could be and more compelling than you might think.

James Supercave — Alarm Will Sound EP

[protected-iframe id=”9f1809d11184c04440a3d7071eaed0a5-60970621-76566046″ info=”https://open.spotify.com/embed?uri=spotify:album:5i2JxsJxtRftLNnPF216h5″ width=”650″ height=”380″ frameborder=”0″]

Following an impressive debut album with Better Strange in 2016, James Supercave have returned with a new EP that captures much of what made the aforementioned effort appealing. The title track, for instance, is a surprisingly dense track that’s energetic but pleasingly and slightly subdued, like Unknown Mortal Orchestra’s “Hunnybee” but with more pizazz.