The Guardian Indie

Latest news and features from theguardian.com, the world's leading liberal voice
  1. Can Dua Lipa have a second successful Brits year in a row, or will George Ezra dominate the biggest categories? Ahead of tonight’s ceremony, we ponder the likely winners

    Jorja Smith – Lost & Found
    The 1975 – A Brief Inquiry Into Online Relationships
    Florence + the Machine – High as Hope
    Anne-Marie – Speak Your Mind
    George Ezra – Staying at Tamara’s

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  2. While Absher is awful, having it removed will further restrict women. Let’s not let politicians off the hook for their complicity in how Saudi women are treated

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    Related:The Ryan Adams allegations are the tip of an indie-music iceberg | Laura Snapes

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  3. (4AD)

    Here’s another nugget from the gold rush in Australia’s indie scene. Once cut off from global culture, interconnectivity has brought the likes of Tame Impala, Courtney Barnett, Rolling Blackouts Coastal Fever and the Goon Sax into even the gloomiest, least marsupial-encumbered corners of the earth. Methyl Ethel – principally the project of Perth’s Jake Webb – tends towards Tame Impala’s baked demeanour, and the versatile funk bass line of Scream Whole recalls their hit The Less I Know the Better. Webb’s zonked, synth-driven psych-pop is also strongly reminiscent of MGMT, and like any hipster currently worth their pink Himalayan salt, Ariel Pink’s stoner-vaudeville act is a clear touchstone, too.

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  4. So-called alternative musicians pride themselves on being more enlightened than their rock counterparts, but in my years of writing about them, I have found no end of ‘beta male misogyny’

    I wish I could say I was surprised by the New York Times report detailing allegations that the singer-songwriter Ryan Adams offered to mentor young women, before pursuing them sexually and turning nasty after they turned him down. His ex-wife, the musician and actor Mandy Moore, described him as “psychologically abusive”. When the musician Phoebe Bridgers began a relationship with Adams after he offered to mentor her – at the time he was 40, she 20 – she said he quickly became emotionally abusive and manipulative, “threatening suicide” if she didn’t reply to his texts immediately.

    Stories like these are eminently familiar to me and many other women who work in the music industry. Surely to men, too, although if they talk about them, it’s rarely to us women. The industry has been slower to reckon with its abusers post-#MeToo than other art forms, partly because it is built on a generally permissive culture of excess and blurred lines between work and leisure – but also because the myth of the unbridled male genius remains at its core. The male genius is the norm from which everyone else deviates. He sells records, concert tickets and magazines. And because he resembles most of the men who run the industry, few of them are in any hurry to act when he is accused of heinous behaviour, lest their own actions come into question.

    Related:Ryan Adams: multiple women accuse singer of emotional abuse, report says

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  5. (Domino Recordings)

    Noah Lennox, whether on his own as Panda Bear or with his Brooklyn band Animal Collective, has a knack for meshing lustrous electronics into densely textured, hallucinatory scenerios, aided by his brightly lit, boyish coo. The latter’s seminal album Merriweather Post Pavilion turns 10 this year and was an epic feat of indie experimentalism that hasn’t, wrote Pitchfork recently, been surpassed.

    No doubt that anniversary was at the back of Lennox’s mind when he made Buoys. His sixth solo album is remarkably more muted than his previous work. Lead single Token and its Lemon Jelly-like sampledelia throws back to Merriweather, a spiritual successor to the joyful rush of My Girls, but otherwise Buoys offers a sort of deconstructed R&B that focuses on repetition and restraint.

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