Jawdropped – Secret to Spare
Jawdropped add their own spin to ‘90s alternative rock, with sharp performances and even sharper songwriting.
David founded No Ripcord in 1999. Alongside his work as a doctor, he writes about music, sport, science and medicine for a variety of publications.
Jawdropped add their own spin to ‘90s alternative rock, with sharp performances and even sharper songwriting.
Bloc Party’s atrocious seventh album is an immature embarrassment with very few redeeming qualities.
Jangle, folk, power pop, fuzzy college rock—it shouldn’t work, but no one has told The Tubs that.
The Burlington, Vermont singer-songwriter takes flight on her third album.
Dinosaur Jr.’s 13th album—and first for five years—is another solid entry in one of indie rock’s most consistent discographies.
It’s been a tough run for Interpol since the highs of Antics, but their re-energised eighth album marks a glorious shift in fortunes.
If Dulling The Horns was a rebirth for John Ross’ band, Still Coming Down is an abrupt loss of momentum.
Confident, varied, and unashamedly fun, It Goes On is an astonishing debut album that announces a bold new talent.
Now this is a break-up album. Long-time friends Open Mike Eagle and Kenny Segal team up for a razor-sharp record that showcases their impressive skills.
Six years after her breakthrough moment, Phoebe Bridgers’ third album is a timely reminder that more is frequently less.
Man/Woman/Chainsaw have found the perfect sweet-spot between edgy weirdness and tasteful sophistication. Their glorious debut is a delight.
Music, Fashion, Film’s lead single “Rock Music” triggered a thousand opinion pieces on Charli’s latest pivot, but my take is far simpler: it just isn’t very good.
Sometimes a debut album is just ok. Some good moments, some bad ones, but mostly in the middle. Mount Zero is one of those records. And that’s perfectly ok.
Philadelphia power pop stalwarts Hurry have delivered the goods on their consistently appealing sixth album.
Anishinaabe musician Daniel Monkman follows two records of hazy moccasin-gaze with a more ambitious exploration of adolescent trauma.
For all the noisy guitars, there is so much more to Cry Baby—lyrically, thematically, and even musically—that exemplifies the very best of Hip Hop.
The Japanese post-rock veterans honour long-time producer Steve Albini on their wonderful thirteenth album.
Liz Lawrence’s Vespers—a beautiful tribute to her late sister Jessie’s tragically short life—will undoubtedly resonate with listeners seeking comfort and understanding in times of grief.
Forged in the furnaces of nostalgia of despair, I Built You A Tower is Death Cab’s strongest record in two decades and a powerful return to form.
Thirty years into a storied career, Kevin Barnes is back with another break-up record—but can aethermead help to reverse Of Montreal’s creative decline?
Philadelphia based singer-songwriter Greg Mendez was one of 2023’s unexpected success stories. Can his first full-length for Dead Oceans survive the weight of expectation?
13 years after the superb Tomorrow’s Harvest, Scottish duo Boards of Canada turn their attention to religion on the apocalyptic Inferno.
Inspired by source material from Harry Smith’s immense archives, Portland-based guitarist Marisa Anderson has crafted an important and mesmerising work of majestic folk music.
The battered and bruised Canadian star attempts to reclaim his throne by releasing three records on the same day. Worryingly, Iceman is arguably the best of the three.
The Lemon Twigs are reliable purveyors of pristine power pop with a side of nostalgia—but is it enough?
Cindy’s intoxicating fusion of slowcore and indie pop makes the San Francisco quartet one of the best quiet bands in the business.
Kacey Musgraves showcases her wit and warmth, as she returns to her country roots on Middle of Nowhere, a sumptuously produced record with enough sharp songwriting to outweigh its occasional missteps.
Friko’s second album is full of thrilling songs and big moments, but its relentless maximalism leaves little room to breathe.
Sam and Kitty Ray’s latest release for Run For Cover is Teen Suicide’s first studio album.
Montreal janglers Prism Shores make their bold leap into the indie pop major leagues with Softest Attack.
Gothenburg’s Makthaverskan return with Glass and Bones, a fiercely confident album that expands their post-punk roots with shades of jangle pop, goth rock, and shoegaze.
The debut album from Stockholm’s Girl Scout is a confident, varied set of indie rock tunes that marks them out as a band to watch.
Brigitte Calls Me Baby’s Irreversible aims for grandeur, gloss and breakout buzz, but beneath the sheen lies a hollow, derivative record short on risk, substance and memorable songwriting.
The follow-up to 2024’s abrasive Revelator sees NYC rapper ELUCID teaming up with Swiss producer Sebb Bash.
On Transmitter, Max Clarke enlists Wilco’s Jeff Tweedy to subtly refresh the Cut Worms formula, honouring his classic rock influences without sounding trapped by them.
Divorce guitarist/vocalist Felix Mackenzie-Barrow explores sparse folk on his solo debut.
Four years on from the well-received Sincere, Malmö’s Hater find themselves at a creative crossroads.
Hip Hop veterans RJD2 and Supastition deliver a mature, satisfying, and genuinely exciting record—reconnecting with the spirit of ’90s underground Hip Hop without falling into the familiar tropes that dilute the genre’s effectiveness today.
Bill Callahan’s eighth album under his given name continues a remarkably consistent run that dates back to his Smog days.
With their first new release since 2020, the Philly shoegazers are returning to a scene that has exploded in their absence. But is there still a place for Nothing’s heavy take on the genre?
The eccentric collective from the Old North deliver a charming record of proggy folk with a political edge.
How do you follow a cultural phenomenon like BRAT? Charli XCX’s John Cale collaboration hinted at a wild left turn, but the curiously conservative Wuthering Heights feels like an exercise in retreat rather than reinvention.
Five years on from their last album, Philadelphia’s Remember Sports are back with tightened production and a stronger country twang.
At 82, electronic music pioneer Beverly Glenn-Copeland meets his devastating diagnosis with characteristic grace. A mix of reworked classics and new songs, Laughter In Summer stands as a tender testament to his enduring love.
Manchester quartet Mandy, Indiana have undoubtedly made a huge leap on their second album, URGH, but have they lost something in the process?
Chicago’s Ratboys strike out on their sixth album, Singin’ To An Empty Chair. It’s an exquisitely produced work that many critics are calling their best work yet—but are they correct?
The London shoegazers return with a cleaner sound on their second album for Sonic Cathedral.
Tyler Ballgame sings like he’s possessed by the ghosts of the entire Rock & Roll Hall of Fame. Roy Orbison, chiefly. But does his debut album rise above the level of pastiche?
Maryland rapper IDK hits new heights on his latest mixtape, which features MF DOOM, RZA, Pusha T, and a top-notch cast of producers.
Auckland based singer-songwriter Peter McCall makes a giant leap on his latest release, serving up indie rock with a side of alternative country.
New York rapper A$AP Rocky struggles to find consistency on his fourth LP—and first since 2018’s lacklustre Testing.
The post-punk duo Sleaford Mods had a moment, but that moment has long since passed. Their descent into self-parody accelerates on their dismal thirteenth album.
Winged Wheel’s third album of subtle, restrained experimental rock rewards attention.
Wollongong’s Private Wives burst onto the scene with a ferocious punk debut that punches back against the odds.
The Chicago supergroup’s first album in 25 years is a quiet testament to their friendship, forged in the face of adversity.
Kai Slater’s latest exercise in British Invasion-inspired indie rock is a more chaotic affair than his breakout hit, Radio DDR.
Gala compiles Lush’s early material—a mini-album and two EPs—and highlights a remarkable period of growth for the dream pop / shoegaze band.
The North London band’s third full-length is a confident, genre-hopping beast.
Swedish experimental musician (and pipe organ enthusiast) Anna von Hausswolff goes pop, in her own unique fashion.
The Crutchfield sisters, Katie (Waxahatchee) and Allison (Swearin’), are joined by guitarist MJ Lenderman and producer Brad Cook on this surprise project’s heartwarming debut.
On Night CRIÚ, Irish polymath Hilary Woods has found the sweet spot between her two contrasting musical personas—the avant-garde drone architect and the cerebral dream-pop minimalist.
The latest full-length from South London indie-pop band adults sinks under the weight of its admirable ambition.
The first Mobb Deep record to be released since Prodigy’s tragic death is a tasteful addition to the group’s legacy.
An understated reflection on climate change and the damage caused by humanity, Blight is arguably Peter Silberman’s best work since his 2009 opus, Hospice.
Safe Suburban Home’s transatlantic lo-fi indie rockers strike gold on their fourth full-length.
The London band’s second album sees them doubling down on their formula and utilising a strikingly familiar set of ingredients.
Scarecrow II feels like a breakthrough moment for The Telephone Numbers, the sound of a band moving beyond the limitations of a genre and striking out in search of something bigger.
Over the course of a thirty year career, Johan Angergård and Karolina Komstedt’s Club 8 project has enchanted listeners with its perfectly formed indie pop.
Rat Saw God was No Ripcord’s favourite album of 2023. Can Wednesday’s follow-up solidify their place in indie rock’s top tier?
Irish producer The Expert takes a leap on this psychedelic indie rap odyssey. Buck 65, PremRock, and Blu guest.
Orange, Massachusetts band serve up indie rock with a side of jangle on this impressive debut.
One half of prodigious sibling duo The Lemon Twigs goes solo with spectacular results. David Coleman reviews.
Former Girls frontperson Christopher Owens finally fulfils his solo potential.
The San Francisco indie pop quartet strikes gold on their second album.
The record is not an epoch-defining instant classic. It’s just fine.
Hamish Hawk is an outsider’s outsider with a fast-track ticket to natural treasure status.
Initially intended as a twelve song suite about climate change, Complete Mountain Almanac ended up becoming a record cancer survivorship following Jessica Dessner’s diagnosis.
The Canadian band delivers perfection on their third album.
The band’s fourth post-MPP release is easy-going and even a little boring.
Dinosaur Jr.’s twelfth album is one of their strongest post-reformation efforts.
A patchy yet pleasantly surprising new Weezer record.
Animal Collective’s seventh album is their best yet.
Interpol’s third album makes for an inconsistent major label debut.
Animal Collective and Grizzly Bear defined indie music in 2009, but in hindsight both Merriweather and Veckatimest feel like the end of something special rather than the new beginning we were promised at the time.
Sheffield’s biggest festival delivered a weekend of nostalgia interspersed with moments of brilliance.
Through its stunning World Cup-inspired collaboration with premium designers Full Kit, venerable indie label 4AD is the latest musical institution to venture into the world of football fashion. We explore this growing trend and consider the wider relationships between music, football, and fashion.
50 years ago today, The Clash played their first gig in Sheffield, supporting Sex Pistols. An outraged gig-goer claimed that “both bands were crap,” but what was the show really like? And what impact did it have on the city?
The Killers’ decision to headline the Enhanced Games closing ceremony is a grubby example of music-washing and should be condemned as such.
Daniel Dylan Wray’s Groovy, Laidback & Nasty is a meticulously researched history of Sheffield music that captures the city’s strange mix of creativity, humility, and myth-making. Its appeal will extend far beyond the city’s boundaries.
Iceage once faced intense scrutiny for provocative imagery. In 2026, similar questions often go unasked. The spark for this piece? Brigitte Calls Me Baby—and the band name music journalists mention, but rarely interrogate.
In this 2003 interview, Interpol drummer Sam Fogarino discusses their breakthrough success, Joy Division comparisons, and the creative instincts shaping the New York quartet.
As the dust settles on our 2025 retrospectives, we are turning our attention to the year ahead. 2026’s release schedule already gives us some clues as to what musical delights lie ahead. To make things easier for you to keep track, we’ve collected ten highlights for January.
Enough of the positivity. It's time to get critical. What were 2025's worst reviewed records? And what do they say about the state of music criticism?
The Irish shoegaze legends have a unique relationship with noise. The passage of time has not dulled their potency.
Tobias Jesso Jr. wowed critics in 2015 with his stunning debut, Goon. Was his long-awaited follow-up worth waiting for?
Next month marks the fifth anniversary of Sam Jayne’s death. The former Lync and Love as Laughter man was only 46 years old when he passed away, leaving behind a strong legacy of wonderful music.
Swervedriver’s beguiling fusion of rock and shoegaze set them apart from Creation labelmates Ride, Slowdive, and My Bloody Valentine. These are the band’s twenty best songs.
No Ripcord is back with a renewed focus and a website that actually works.
Twenty years on from the end of his imperial phase, this tasty playlist serves up a easy to digest introduction to rap’s original 'super villain'.
How did a Lincolnshire power pop legend end up on a Hip Hop classic? David Coleman investigates.
Echoes of the Manchester band's sound can be heard far beyond the lad rock of Kasabian and White Lies. David Coleman explores their complicated legacy.