Indierock | Alternative 230 Items

Orange Vinyl. Enumclaw, led by primary singer/songwriter Aramis Johnsonis a movement for the people by the people from Tacoma, WA.With their new second LP Home in Another Life, Enumclaw hasgrown to be more than just a rock band. Instead they're a communityof creatives, videographers, photographers, writers, critics andskaters. They're for the punk ass kids at skate parks in the Tacomaof every city, for the kids who get the deli chicken strips and eatthem in the store without paying, for the kids who might not befound at the theatres and amphitheaters but will definitely go off inthe pit at the punk venue which used to be a CVS.Home in Another Life packs a lifetime of emotion intoit's eleven songs - Johnson sets the personal tone from the starton opener "I'm Scared I'll End Up All Alone," a swaying but fiercekickoff track that channels bands like Dinosaur Jr and Archers ofLoaf with a modern edge. Singles like "Change" and "Not Just Yet"show that the band's ability to write hooks has completely leveledup since their 2022 debut Save the Baby. "Would you want me tochange?" Aramis shouts over a raucous riff from guitarist NathanCornell, while the aggressive drum and bass pairing of LadanielGibson and Eli Edwards on "Not Just Yet" feel integral to the song'sheadbanging tempo.After a hectic touring schedule with bands like Nothing,illuminati hotties and Toro Y Moi, Enumclaw shows no signs ofslowing down their non-stop pace. From the start they have pridedthemselves on being a working-class band, hitting the road asmuch as possible and burning CDs at merch tables when they'veneeded to. Home in Another Life captures that energy - it's asoundtrack to be played loud as hell out the window of a mid-2000'ssedan or blaring through the walls of your neighbor's apartmentbuilding. It's a record built to connect with you - that's the only wayEnumclaw has ever operated.

Orange in White w/ Splatter Vinyl.Enumclaw, led by primary singer/songwriter Aramis Johnsonis a movement for the people by the people from Tacoma, WA.With their new second LP Home in Another Life, Enumclaw hasgrown to be more than just a rock band. Instead they're a communityof creatives, videographers, photographers, writers, critics andskaters. They're for the punk ass kids at skate parks in the Tacomaof every city, for the kids who get the deli chicken strips and eatthem in the store without paying, for the kids who might not befound at the theatres and amphitheaters but will definitely go off inthe pit at the punk venue which used to be a CVS.Home in Another Life packs a lifetime of emotion intoit's eleven songs - Johnson sets the personal tone from the starton opener "I'm Scared I'll End Up All Alone," a swaying but fiercekickoff track that channels bands like Dinosaur Jr and Archers ofLoaf with a modern edge. Singles like "Change" and "Not Just Yet"show that the band's ability to write hooks has completely leveledup since their 2022 debut Save the Baby. "Would you want me tochange?" Aramis shouts over a raucous riff from guitarist NathanCornell, while the aggressive drum and bass pairing of LadanielGibson and Eli Edwards on "Not Just Yet" feel integral to the song'sheadbanging tempo.After a hectic touring schedule with bands like Nothing,illuminati hotties and Toro Y Moi, Enumclaw shows no signs ofslowing down their non-stop pace. From the start they have pridedthemselves on being a working-class band, hitting the road asmuch as possible and burning CDs at merch tables when they'veneeded to. Home in Another Life captures that energy - it's asoundtrack to be played loud as hell out the window of a mid-2000'ssedan or blaring through the walls of your neighbor's apartmentbuilding. It's a record built to connect with you - that's the only wayEnumclaw has ever operated.

While Duster went into hibernation in theyear 2000, Clay Parton's four-track neverstopped rolling. Recorded alone at homeover several years, Birds In The Groundis an album of 30-something, post-9/11malaise. Under his Eiafuawn (EverythingIs All Fucked Up And What Not) acronym,Parton hides beneath layers of fuzzy andclean guitars, his hesitant, cottony vocaldisappear into noise. This deluxe pressingis packaged in a gorgeous tip on sleeveand includes the complete lyrics for thiscryptic entry of the Dusterverse.

“If rock ’n’ roll’s a dream, please don’t wake me.”

Midwife’s No Depression In Heaven, her fourth studio album, was written primarily in the back of vans while on tour endlessly over the course of the past few years. The record engages with the contemplative spirit of rock ’n’ roll from within a body in motion.

No Depression In Heaven explores themes of sentimentality, the interplay between dreams, memory, and fantasy, and a familiar subject seen throughout all of Midwife’s work: grief. Madeline Johnston takes a look at the tender and transcendent underneath a hard exterior of leather and studs, exposing a different side of the heavy music scene, where Johnston’s project has been living and evolving.

Recording at home in New Mexico between 2021 and 2023, Johnston aimed to create something that was rough around the edges, returning to a free recording process that was less focused on perfection and more attuned to expressing the spirit that lives inside of the songs. The album features collaborations with Chris Adolf and Michael Stein of American Culture, Ben Schurr and Tim Jordan of Nyxy Nyx, Angel Diaz of Vyva Melinkolya, and Allison Lorenzen.

Inspired by ephemeral moments that make up life on tour, the totemization of vehicles, outlaws, and the psyche of America’s underbelly, No Depression In Heaven affirms Johnston’s existential status as a woman of the highway.

“If rock ’n’ roll’s a dream, please don’t wake me.”

Midwife’s No Depression In Heaven, her fourth studio album, was written primarily in the back of vans while on tour endlessly over the course of the past few years. The record engages with the contemplative spirit of rock ’n’ roll from within a body in motion.

No Depression In Heaven explores themes of sentimentality, the interplay between dreams, memory, and fantasy, and a familiar subject seen throughout all of Midwife’s work: grief. Madeline Johnston takes a look at the tender and transcendent underneath a hard exterior of leather and studs, exposing a different side of the heavy music scene, where Johnston’s project has been living and evolving.

Recording at home in New Mexico between 2021 and 2023, Johnston aimed to create something that was rough around the edges, returning to a free recording process that was less focused on perfection and more attuned to expressing the spirit that lives inside of the songs. The album features collaborations with Chris Adolf and Michael Stein of American Culture, Ben Schurr and Tim Jordan of Nyxy Nyx, Angel Diaz of Vyva Melinkolya, and Allison Lorenzen.

Inspired by ephemeral moments that make up life on tour, the totemization of vehicles, outlaws, and the psyche of America’s underbelly, No Depression In Heaven affirms Johnston’s existential status as a woman of the highway.

“If rock ’n’ roll’s a dream, please don’t wake me.”

Midwife’s No Depression In Heaven, her fourth studio album, was written primarily in the back of vans while on tour endlessly over the course of the past few years. The record engages with the contemplative spirit of rock ’n’ roll from within a body in motion.

No Depression In Heaven explores themes of sentimentality, the interplay between dreams, memory, and fantasy, and a familiar subject seen throughout all of Midwife’s work: grief. Madeline Johnston takes a look at the tender and transcendent underneath a hard exterior of leather and studs, exposing a different side of the heavy music scene, where Johnston’s project has been living and evolving.

Recording at home in New Mexico between 2021 and 2023, Johnston aimed to create something that was rough around the edges, returning to a free recording process that was less focused on perfection and more attuned to expressing the spirit that lives inside of the songs. The album features collaborations with Chris Adolf and Michael Stein of American Culture, Ben Schurr and Tim Jordan of Nyxy Nyx, Angel Diaz of Vyva Melinkolya, and Allison Lorenzen.

Inspired by ephemeral moments that make up life on tour, the totemization of vehicles, outlaws, and the psyche of America’s underbelly, No Depression In Heaven affirms Johnston’s existential status as a woman of the highway.

With a discography spanning decades, Panic! at the Disco's chart-topping hits range from pop-punk to soul to rock -- now, Rockabye Baby is calming things down to give you all the timeless Panic! classics, with a completely reinvented, baby-friendly sound.

The full album features lullaby-ified, nostalgia-inducing classics like “I Write Sins Not Tragedies” and “This Is Gospel,” as well as Brendon Urie's newer superhits. Rockabye Baby! Lullaby Renditions of Panic! at the Disco is sure to have you and your baby sound asleep by "Nine in the Afternoon".

Instead of distorted guitars and thunderous drums, we've used mellotron, glockenspiel, and chimes to highlight Tool's dreamy melodies on ROCKABYE BABY: LULLABY RENDITIONS OF TOOL. These incredibly lush lullaby versions of Tool's best known songs will captivate and engage your baby while they drift off to slumberland.

The lullabies on this album use the airy melodies and beautiful imagery of Coldplay's best material, cutting to the heart and soul. Whether your little one is just plain Jane or sweet little Apple, these beautiful lullabies will warm their hearts and put a smile on their faces.

Radiohead weave worlds of incredible sounds, design and imagery. Lush arrangements combine with epic performances. Their album KID a imagines the scope and power of music created by a newborn child. What will you baby dream about while drifting off to these seren interpretations of Radiohead's best-loved songs.

What Kind of Human Have I Become is a new vehicle helmed by Matt Plunkett (Cuticles, The Trendees, etc.). Conceived as a solo endeavor, the designation got a bit blurry following an invitation to record his new songs with Stefan Neville (Pumice, etc.) at the studio he shares with Ben Holmes (Oksun Ox, etc.) in Auckland.

Once in the studio, Plunkett’s songs puffed in a wholly new way with Neville at the controls, and backing and bits from both Neville and Holmes perhaps channeling Nag and Bendie. Fans of Matt’s past and current activities will find much to rejoice in here; Avoiding The Diggy Diggy Dogs plucks three songs from the sessions. More to come in due time.

As subjects of a recent career spanning vault-clearing anthology, the likelihood that more old recordings by The Strange Girls might surface was an unlikely one. Thankfully it’s just what happened. Culled from leaky audience video recordings, Truly & Lyric features two Clayton Noone songs that never surfaced elsewhere. These date from around 2002 and feature the core duo of Kaaterama Morehu and Noone. Draped in artwork by Mark Anderson (Greymouth), Truly & Lyric offers another fleeting glimpse at The Strange Girls’ downcast beauty in action. Limited to 200.

Perennial is an art project: Mod pop, post-hardcore, 60s soul, ambient electronic music, midcentury design, abstract expressionism, French New Wave cinema; it’s all collage material for Perennial. The band—electric organist Chelsey Hahn, guitarist Chad Jewett and drummer Ceej Dioguardi—is equal parts manic basement show bombast and studio-as-instrument headphone listening. To see the New England three-piece in person is to experience a 20-minute burst of kinetic energy: dynamic, reckless, electrifying. To put on one of Perennial’s records is to spend almost the same amount of time with impeccably layered studio-as-instrument punk modernism. Art History, the band’s newest full-length album (out June 7 via Ernest Jenning Record Co.), finds Perennial further experimenting with their angular cut-and-glue aesthetic. An adventurous 20 minutes of impressionist punk energy, British Invasion guitar pop chic, and Mod-inflected rhythm and noise rave-ups, Art History is both Perennial’s most giddily accessible and most artistically daring record to date. Edition of 275 copies pressed on clear with black and green splatter vinyl.

Theme: collaboration. Or how to remain creative in the modern world. Nanocluster started as a bespoke one off pop up gig that turned into an album series. Built around Colin Newman from acclaimed UK post-punk band Wire and his partner in life and sound Malka Spigel from Minimal Compact with various guests, they define collaboration. Colin met Malka when he produced her band in 1985.The collaboration started there. They became a couple and created their own projects like the instrumental electronic duo Immersion in 1994 and Githead in 2004 - spaces where they both 'feel really comfortable.' Growing out of Immersion, Nanocluster was birthed as a series of one-off gigs at the Rosehill in their new hometown of Brighton in 2017 with an added cast of influential and cutting edge musicians. These were not ad hoc jams. The songs had been written and rehearsed prior to each performance. This adventure led to a debut album, Nanocluster Vol 1, released in 2021 with Stereolab singer/guitarist Laetitia Sadier, German post-rock duo Tarwater, electronic musician Ulrich Schnauss and experimental artist Robin Rimbaud (Scanner). Released again as double 10 inch with each collaboration taking up each disc, the new album Nanocluster Vol 2 has further developed this idea with a stark beauty that sounds like a future pop with sleek lines and unexpected great melodies. Disc one is built around Thor Harris, the charismatic percussion player from Swans and many other projects, who they met and performed with at South By South West in Austin, Texas in 2023. Thor adds ideas, his tuned percussion instruments, clarinet and trumpet to the sessions. Disc two is built around Cubzoa (Jack Wolter from the band Penelope Isles) who brings his musical craft, beguiling voice, guitar and much more. Meanwhile Matt Schulz from Holy Fuck plays drums across both combinations helping the resulting music become a third entity. What results is a true collaboration that, enhanced via Immersion's production, merges its elements to develop a new har...

"In July 2022 I was invited to open for the band Low who specifically wanted 'something weird'. I only had about 24 hours to come up with a set but decided to take up the generous offer. Recorded live to Tascam 8-track at the High-Noon Saloon in Madison, WI. Gear: Waldorf Quantum, Roland Rs202, Arturia Polybrute, Waldorf XTK, DSI Poly Evolver, and Korg Mono/Poly." - Vincent Presley (Those Poor Bastards, Zebras, Logan 5, Secret Creeps, etc). Live ambient, drone, experimental electronic. Side 2 can be played at 45rpm (how it was performed) or 33rpm (ultra slow gloom version). Hand-numbered edition of 115 copies.

Back in 1996 Swans released what was supposed to be their final album and declared themselves "dead". While Gira focused on Angels Of Light, Norman Westberg, Algis Kizys and Vinnie Signorelli paired up with Dan Joeright (The Rentals) and Kelly Burns for a project of "rock type music" under the name A/N. This project was recorded in 96-97 has never been released in any format. Limited hand-numbered edition of 275 copies on oxblood and black swirled vinyl.

As corny as it sounds, you can’t help but describe Bermuda Squares as a Minneapolis supergroup. Ringleaded by singer/guitarist Tony Milek, the band comprises members of Sinks, Neo Neos, Citric Dummies, Color TV, green/blue, Retainers, Dummy, the Soviettes, IV, and Awesome Snakes. That pedigree alone provides a good idea of where you’re heading here. Clever pop for dumdums. Well crafted knuckledragging catchy fuzz hammered out meticulously by idiots.

"Toujours l'été" is the very first Les Négresses Vertes Best Of on Vinyl. 12 classic track on white vinyl edition fairly priced , from" Sous le soleil de Bodéga", "Voilà l'été" to "Zobi La mouche " and Massive Attack's cult remix of "Face à la mer " .
Les Négresses Vertes are a cult french alternative band formed in 1987 with a unique sound. The original line up was a group of 9 friends, some of them never played music before : we can say they very quickly improved . They can be best described as a fusion of world music and alternative rock. Their particular music influences were Raï, Mediterrean music and French café / chanson française up to lyrics. They were in the same time a big band & a rock band with tremendous concerts throughout the UK & Europe . After two first and cult albums "Mlah" & "Famille Nombreuse" and the death of the former charismatic singer Helno, the band decided to keep on playing with Stéphane Mellino & (Matias) Canavese replacing Helno as the main songwriters & singers. After "Zig-Zague" & "Trabendo" albums, they disbanded in 2001.
Following a few live reunions , Stéphane & Iza Mellino ,original members, reformed the live band in 2018 to celebrate the 30th anniversary of cult debut album "Mlah" with an intensive French tour. They have kept playing since and will be back onstage from late spring 2024 for a 30 dates new tour visiting a few countries and very likely to be extended in 2025. Longue vie aux Négresses Vertes !

Must we bleed to buy a bridge? A life led punk takes a left turn to there and back again lane, and we find Soup Activists. This is St Louis’ new mutant pop, Martin Meyer’s solo studio project (and ensemble live band). Mummy What Are Flowers For?, the act’s new LP on Inscrutable Records, is punk’s gift back to pop. Friends, penpals, and mail order maniacs will all be told, a princely player with a heart of gold journeyed to Lawrence Kansas to record and rock. With Sweeping Promises, MM ignored the studio clock. SP’s Caufield Schnug behind the board and Lira Mondal in front of the mic, providing supporting vocals.

Songcraft has always been an essential part of Marty’s world (Lumpy and the Dumpers, the Wad, Cal and the Calories, Fried E/m) and special care is provided on Mummy. There’s the crackle and verve of Dolly Mixture, the slyness of Television Personalities, and the pure fun of the Freshies. The pogo is an apt dance for album openers 'Jeffrey Jarvis' and 'Boys With Plants.' Curiously dressed adolescents lay the groundwork for 'Matching Teens' and its swinging organ and crunching guitar. Lira’s singing is furiously focused and fulfilling on “The Times,” bottled fun. 'It’s a hit! It’s a hit!' These are the screams I hear each night in the Soup Activists concert audience. Let 'Some Doves Don’t' be your introduction to new wave. 'Chaos Girls' is an anthem for the apocalypse that dances dangerously in a zone of perilous joy.

Martin has worn many hats, and now we are closer to the dome than ever before with this guitar-pop project. Big, freaky-beefy, and beautiful, Soup Activists’ new LP is personal. It’s strange when you’re living the dream. We are lucky to live in this wonderful world and to have Martin Meyer making it more wonderful."—Reese Higgins (Gentle Reminder Records)

Escape Forever is a signal from the past, a loose thread that pulls us from our nostalgia filled bedrooms into our present moment. Both a loving homage to teenage memories and an intense response to our current milieu. Soft Kill’s Escape Forever is thirteen raw tunes, musings and samples with Chicago artist RBTayskii as the spiritual tour guide. The record is delightfully centered around just the painful and joyful moment of creation, where guitars and melodies are supreme. Soft Kill attempts to grapple with the chaos of the world coming back to harmony, to reconcile with the past, to embrace it. A reverie on how to remain humble and intentional in an ever more complicated world. As Emerson once said we are artists because we are unsuccessful people living in an unsuccessfully realized world. Escape Forever tries to find transcendence in the knuckle bruising nightmare we came from instead of the realm of the phenomenal, praised and often overreaching. It harkens back to another era, but Escape Forever is decidedly the sound of us now. Edition of 500 copies on gold vinyl.

The 9th studio album of the band tumido features trumpet player Alex Kranabetter (Soap and Skin, Vodoo
Jürgens). For more than 20 years Tumido has been on the lookout for something new, always on the move,
focused on energy in any form, driving rhythms, powerful bass, spacey drones. Trumpet has always been a big
part of their sound universe, so it felt very natural to collaborate with a master of trumpet sounds, Alex
Kranabetter and record an album together.
Lithox - a maelstrom you can't escape, sucked in by a hypnotic bass & driving rhythms into a trance world you
don't want to leave
Dwa - a summer hit out of Hades on the slide to hell.
180° - a volcanic eruption on a lonely island - pure energy;
Dirt Rodeo - the branches of the fire tree dance with laughter, clouds of smoke cloud the senses and the landing
is a success.

Matt Loveridge is a prolific multi-instrumentalist condemned to Bristol, UK. He has over sixty solo records under various monikers, done before and after his time in Beak>, none of which appear on major streaming platforms, nor get much attention. His work as Mxlx is a miasmatic fog, and he tosses the listener deep into it. Kicking Away At The Decrepit Walls Til The Beautiful Sunshine Blisters Thru The Cracks is his most celebrated release (if one counts hate mail), and it appears here for the first time both on vinyl and somewhere not on his own site.

Songs swerve between ambient, electronic ambient noise, metal, and industrial. Vocal harmonies ride arpeggiated basslines and shimmering synth lines, ascending upwards before plummeting into distorted screams. And yet, Loveridge’s aggression does not overlook introspection. He faces one stripped of all pretense, creaking “I’ve got that dumb skull of yours locked in place,” apologizing, “I’m sorry for all that I’ve done in the name of myself” and laughing in one’s face, “Just kidding, I hope you rot in the ground.” Drawing from an obsession with literature, he’s converted a life stricken with bouts of depression and homelessness into febrile sonic turbulence. He channels the intensity of groups like Pharmakon and The Body, while embracing compositional noise like Colin Stetson. With droning organs, emotionless chanting, and fleeting walls of sound, his results have more to do with cosmic futility than petty score-settling.

Mxlx produces barren liturgies of raw emotion, like a fallen medieval monk given a synthesizer. He pulls the listener from comfort, spits in their eye, and abandons them as roadkill. An explosive catharsis not for faint hearts or distracted minds.

Dale Crover - weltbekannter Schlagzeuger der Melvins, Nirvana und Redd Kross sowie Sänger und Gitarrist von Altamont - veröffentlicht sein drittes Solo-Album „Glossolalia“ am 13. September über Joyful Noise Recordings. Das von Crover und Toshi Kasai produzierte Werk strotzt nur so vor Nuggets-Garagenrock, Proto-Metal-Riffs und herrlich verschwommenem Psych-Pop. Einen Vorgeschmack auf das 11-Song-Album gibt es mit der heutigen Veröffentlichung von „Doug Yuletide“ . Der Track ist einer von zwei „Glossolalia“-Songs, bei denen Crover mit dem Gitarristen Dan Southwick zusammenarbeitet, seinem langjährigen Freund und Altamont-Bandkollegen. Aber Southwick ist nicht der einzige Freund, der auf Glossolalia zu hören ist: Kim Thayil von Soundgarden (Leadgitarre bei „I Quit“ und „Rings“), Ty Segall (Leadgitarre bei „Spoiled Daisies“ und „I Waited Forever“), Rob Crow von Pinback („Don't Worry About It“, „Rings“ und „I Waited Forever“) und Tom Waits' ungelenkes, in Zungen gesprochenes Intro beim Titelstück. „Glossolalia“ ist Crovers bisher fokussiertestes Statement als Solokünstler. In seiner Gesamtheit zeigt das neue Album, dass Crover, so wie die Melvins in ihrem vierten Jahrzehnt weiter wachsen und sich entwickeln, auch als Solokünstler neue Schritte unternimmt. Inmitten des inspirierten Geplappers von Waits, des glorreichen Schredderns von Segall und Thayil und vielem mehr, sticht vor allem die Robustheit von Crovers Vision hervor. Diese Platte zeigt, dass seine Gesamtästhetik genauso stark wie sein legendärer Schlagzeugdonner ist.

Justin Townes Earle released Kids In The Street, his first record on New West Records, in May of 2017. The album received critical acclaim and further cemented Justin’s legacy as one of the best active songwriters in music. Songs like, “Champagne Corolla” showcased his wry sense of humor as well as his deft ability to build upon the music that came before him while at the same time creating something unique and new. Familiar, inventive, creative, and clever.

Justin would release his second album with New West Records in May of 2019. The Saint of Lost Causes was hailed as one of the best albums of 2019 by Rolling Stone Magazine with “half a dozen or so career classics.” “I was trying to look through the eyes of America,” Earle says. “Because I believe in the idea of America - that everybody’s welcome here and has a right to be here.” Earle tells these American stories in detail and without judgement. While some songs cite historic events like “Flint City Shake It,” and “Don’t Drink The Water," other tracks present fictionalized narratives that are no less harrowing, or true-to-life , as heard in "Appalachian Nightmare,” “The Saint Of Lost Causes,” and “Over Alameda."

Justin Townes Earle was always a champion of the underdog and All In features in depth looks at the hopeful, and the hopeless. Fueled by empathy, baked in the blues, Justin was never without something poignant or humorous to say. Sadly, Justin passed away in 2020 at the age of 38. ALL IN: Unreleased & Rarities (The New West Years) is a fitting tribute to Justin’s legacy. The collection features many never heard before songs, demos, and cover tunes, spanning his time as a New West Records recording artist.

Justin Townes Earle released Kids In The Street, his first record on New West Records, in May of 2017. The album received critical acclaim and further cemented Justin’s legacy as one of the best active songwriters in music. Songs like, “Champagne Corolla” showcased his wry sense of humor as well as his deft ability to build upon the music that came before him while at the same time creating something unique and new. Familiar, inventive, creative, and clever.

Justin would release his second album with New West Records in May of 2019. The Saint of Lost Causes was hailed as one of the best albums of 2019 by Rolling Stone Magazine with “half a dozen or so career classics.” “I was trying to look through the eyes of America,” Earle says. “Because I believe in the idea of America - that everybody’s welcome here and has a right to be here.” Earle tells these American stories in detail and without judgement. While some songs cite historic events like “Flint City Shake It,” and “Don’t Drink The Water," other tracks present fictionalized narratives that are no less harrowing, or true-to-life , as heard in "Appalachian Nightmare,” “The Saint Of Lost Causes,” and “Over Alameda."

Justin Townes Earle was always a champion of the underdog and All In features in depth looks at the hopeful, and the hopeless. Fueled by empathy, baked in the blues, Justin was never without something poignant or humorous to say. Sadly, Justin passed away in 2020 at the age of 38. ALL IN: Unreleased & Rarities (The New West Years) is a fitting tribute to Justin’s legacy. The collection features many never heard before songs, demos, and cover tunes, spanning his time as a New West Records recording artist.

Fronted by the captivating brother and sister duo Knut and Johanne Nesdal, MEER returns with their highly anticipated third album, "Wheels Within Wheels." This new release is a masterclass in blending symphonic prog and intelligent pop, showcasing the band's exceptional musicianship, intricate vocal harmonies, and grandiose melodies. Following the critical success of their sophomore album, "Playing House," released three years ago, MEER's latest effort expands their artistic horizons. While "Playing House" explored the intricacies of personal relationships, "Wheels Within Wheels" offers a broader perspective, delving into the complex interplay between individuals and the wider world. The band captures the electrifying energy of their live performances, creating songs that are both expansive and deeply personal, all while maintaining their distinctive sound. "Wheels Within Wheels" represents a significant evolution for MEER. The album features tracks that reach soaring heights and moments of intimate reflection, resulting in their most dynamic and immersive work to date. With a runtime of just over an hour, it stands as their most ambitious project yet. Reuniting with producer Lars Gärtner Fremmerlid, MEER recorded the album at Ocean Sound Recordings in 2023, bringing their vision to vivid life. The album's title "Wheels Within Wheels" symbolises the hidden complexities beneath the surface, inviting listeners on a journey of discovery. This release promises to be an essential listen for fans of both symphonic prog and sophisticated pop music, solidifying MEER's place as a band of remarkable talent and creativity. 01.Chains of Changes02.Behave03.Take Me to the River04.Come to Light05.Golden Circle06.To What End07.Today Tonight Tomorrow08.World of Wonder09.Mother10.Something in the Water11.This is the End