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Amelia Vandergast

Luke Meyn delivered an indie psych dream you’ll never want to wake up from with ‘When It’s Over’

Embark on an indie synth odyssey with the Brisbane, Australia-hailing artist Luke Meyn’s debut single, When It’s Over; finality has never sounded so sweet. Meyn covered the entire spectrum of emotion in this seminally blissful release which proves that endings don’t always need to necessitate bitterness.

The soundscape became the perfect vessel to carry the tenderly expressed emotional themes. The way the psychedelic layers rove through the scintillating cosmos of the production that bleeds all the intimacy of Grandaddy and Yo La Tengo while delivering the same transcendently kaleidoscopic colour of The Beatles and all of the arcane air of Mercury Rev ensures that When It’s Over sonically swallows you whole and transports you to another dimension.

With the promise that no two songs from Luke Meyn are the same, we’re equal parts gutted we can’t anticipate another single in the same vein as When It’s Over and stoked to hear what is to come from the artist who takes a spontaneous approach to song crafting by following his muse, wherever they may roam.

When It’s Over was officially released on March 16th; stream the single on Spotify.

Review by Amelia Vandergast

As Was sold indie alt-country sanctuary in his latest single, Borrowed, featuring Joshua McBride

Off the back of his successful sophomore LP, Open Container, the LA native singer-songwriter As Was (AKA Kosta Stanisavljevic) collaborated with Joshua McBride on his latest single, Borrowed, and exhibited his freshly honed alt-country meets indie sonic signature.

Following the gentle finger-picked notes of the guitar strings, ethereal with melancholy vocals drift into the simple yet stirringly profound production as the lyrics unravel as a narrative of ennui from someone who only finds comfort in isolation.

Haunting enough to rival Tom Odell and Elliott Smith, arcane enough in its alt-country atmosphere to stir in the same vein as Kurt Vile and San Ilios, As Was effortlessly succeeded in sonically visualising the aching emotions which inspired Borrowed, which explores the anxiety-fraught sensation of feeling like you’re living on borrowed time, relentlessly seeking reasons to keep hanging on.

Part of the affecting intimacy of As Was can be attributed to his stint away from listening to other artists as he was cutting his teeth as a singer-songwriter. He felt the influence of other artists diminished his own ability to achieve sincerity at a time when he truly tried to find himself. Now he’s a well-established artist, he continues to ground himself deeper in his distinction, and his discography is all the more deeply felt for it.

Borrowed was officially released on February 29th; stream the single on Spotify.

Review by Amelia Vandergast

The Show Goes On in Jesse Agan’s Broadway-Esque Pop-Rock Debut, Home

Jesse Agan’s debut single, Home, arrests with the same intensity of a Broadway tune, all of the lyrical affection of naturalism you would expect from a Vermont native, and guitar riffs that cut through the timelines to take you back to the rock-licked eras of the 60s, 70s and 80s.

The sense of soul in the release is effortless to surrender to, exhibiting a sure sign of Agan’s charisma and command; you instantly feel safe in his aural presence, knowing that whichever avenue his progressive revelation of a debut single leads you down, you’ll be enveloped in the sanctifying alchemy of the retro arrangements filtered through modern production. Ironically, with Home, he delivered all the sanctuary of home, whatever that means for you.

Agan’s ethos of creating hook-centric and vocally forward releases after finding a scintillatingly stirring and passionate formula for his releases is sure to see him go far in the music industry that is crying out for authentic talent and artists unafraid to take audaciously vulnerable leaps with their music.

Home was officially released on March 14th; stream the single on Spotify.

Review by Amelia Vandergast

KAotik waxed lyrical on the tragedy of wasted potential in his old-school hip-hop track, Fascinate

KAotik (AKA Bruce Reign) kept old-school hip-hop fresh with his latest track, Fascinate, which strips the instrumentals right back to their fundamentals, allowing his killer canter to take the spotlight in the mid-tempo release.

Following a mellow, almost transcendentally toned intro, the spoken-word verses wax lyrical on everything from the tragedy of wasted potential to accepting fate without consigning yourself to it. By finding plenty of room to assert wordplay, clever cultural references and his ethos on putting lyrics to the forefront of his productions, the Washington-born, Laurel MD-residing artist of Nigerian descent used Fascinate to not only do what the single says on the titular tin, but to inspire, and he hit a home run in doing so.

If KRS One, Rakim, Big Daddy Kane, and Black Thought feature heavily on your playlists, make room for this profound hit.

Stream Fascinate on SoundCloud.

Review by Amelia Vandergast

JMP tore through the façade of fallacy with their latest rap track, Don’t Lie, featuring Zinc and Sofia Kafas

https://spotify.link/QgiVqnqW0Hb

JMP’s latest feat of genre-fluid alchemy, “Don’t Lie,” featuring Zinc and Sofia Kafas, seamlessly fuses trap beats into a melodiously mellow atmosphere. As the lush reverb ebbs and flows, it envelops the listener in a rhythmic embrace, guided by the unique chemistry each vocalist brings to the track.

Sofia Kafas’s soulful voice adds a layer of depth and emotion, contrasting with the grit of the grime-y bars. Their harmonies paint a vivid picture of the narrative at the heart of the song – the detriments of deception. What truly sets “Don’t Lie” apart is its cultural richness; the bilingual verses shatter the monocultural mould, adding an exotic twist to the RnB lyrical rhythms.

Don’t Lie was unveiled as one of JMP’s most dynamic releases to date. The trio of contributors, each with their distinct style, unite under the theme of sincerity and truth. The result is a compelling track that resonates on multiple levels and is a reminder of rap’s capacity for storytelling and emotional depth, making it a standout release in JMP’s repertoire.

Don’t Lie was officially released on February 26th; stream the single on Spotify.

Review by Amelia Vandergast

DNA unveiled the UK RnB debut you don’t want to miss with the dualistically stylistic hit, Love or Let Go

Whether you keep hanging on to a relationship that is showing no lifelines or are too hesitant to let down your barriers, DNA’s alt-indie RnB hit, Love or Let Go, will give you all the permission you need to move forward with no inhibition.

Between the grooves of the Latin guitars and the jarringly immersive electronic aesthetic that rocks turbulence behind the solid backbeat, DNA constructed the perfect platform to sonically visualise the emotional themes of Love or Let Go and carry the weight of his hot and heavy vocal lines.

With his vocal dynamism that shifts effortlessly from Hozier-esque timbres to light pop harmonies to electronically distorted dominance, the UK-based up-and-coming talent ensured that he was more than a new entry in the UK RnB scene; he exhibited himself as an RnB heavyweight right out of the gate. We can’t wait to hear what follows.

Love or Let Go will hit all major streaming platforms on March 22; hear it on SoundCloud first.

Review by Amelia Vandergast

The Serenity Club liberated from indignation in this alt-rock release, Heaven is a World Without You

With lyrics you instantly lock into and hooks you can’t unimpale yourself from, The Serenity Club hit an alt-rock homerun with their latest single, Heaven is a World Without You. The single warps sonic timelines, pulls the 90s Seattle sound into modernity and has all the makings of an alt-rock earworm that The Serenity Club deserve to go down in history for.

Knowing that we all have antagonists in our lives that ‘trap us in cages of resentment’, the band gave the key to freedom from indignation to everyone who tunes into the hit which synthesises grunge with the infectious appeal of bands in the same vein as Rise Against. If the single is this affecting while it is blasting through your speakers, the effect of the live performance would be cathartically unholy.

Every instrumental in the hit works to perpetuate the rapture of the release and assert The Serenity Club as one of the tightest alt-rock outfits in London’s underground alt-rock scene – it is only a matter of time before they make their ascent and stand at the vanguard of the post-grunge movement. Tune into the breakdowns so you don’t have to have one yourself.

Heaven is a World Without You will hit all major streaming platforms on March 22; hear it on SoundCloud first.

Review by Amelia Vandergast

Tuto Tribe – Magnetize: A Samba Reggae Pop Symphony of Serotonin

Southampton’s Tuto Tribe, a five-piece, multi-national samba rock band, has crafted a stunning symphony of serotonin with their latest single, ‘Magnetize’. The samba reggae-pop song, the band’s first foray into English lyricism music, is a masterclass in blending world music with pop sensibilities.

The band, born in 2022 and led by the effervescent Brazilian, Tuto, draws from a diverse palette of influences, including Jorge Ben, The Doors, and Manu Chao. Their sound is a modern, bright Brazilian-inspired concoction, with catchy hooks and rhythms influenced by samba, rock, Jamaican music, and jazz.

The reggae rhythms in ‘Magnetize’ wrap around the pop hooks seamlessly, while the vocals, sincere and soulful, spill love and light by the smorgasbord. The single showcases Tuto Tribe’s infectiously sunny disposition, burning as bright as a supernova, refreshing your lust for life and highlighting the beauty within sexual connections. With ‘Magnetize’ as a playlist staple, slipping into a feel-good groove becomes effortless.

Every instrumental element in the arrangement breeds an atmosphere of organic euphoria. The horn stabs, intricately eclectic guitars, and jazzy percussive fills create the perfect platform for the impassioned soul in the vocals to breathe through.

Lyrically, ‘Magnetize’ is a lesson in musical purity, as pure as the act of making love itself. It’s a testament to the band’s ability to create a sound that is both unique and universally appealing; it is a holiday you never realised you were going on.

Magnetize was officially released on March 22nd; stream the single on Spotify.

Review by Amelia Vandergast

Ami Leigh’s Dark Soul was reinvented in the shadows of the G185TARR Death by TripHop Remix

G185TARR’s remix of Ami Leigh’s debut single, ‘Dark Soul‘, is a masterful reinvention that amplifies the original’s raw innovation and emotional depth. This collaboration, a long-awaited fusion of talents, brings a new dimension to the track, infusing it with a darker, more enigmatic edge.

Ami Leigh, a multifaceted musician from County Durham, UK, originally captivated audiences with ‘Dark Soul’ in March 2019. The track, known for its candid confessions and intimate revelations, showcased her ability to weave personal narratives into compelling musical tapestries. In this remix, G185TARR, a producer with a discerning ear for unique soundscapes, has skilfully reimagined the song, maintaining its core while introducing a beguiling Trip-Hop flair.

The ‘Death By TripHop Remix’ elevates the original’s beguile to the nth degree. It retains the affecting shimmers of the angular cutting guitar strings while allowing Ami Leigh’s direct vocal lines to pierce through the veil of the Trip-Hop-ed production. The remix adds swathes of style to the substance that Ami Leigh is quickly becoming renowned for.

With vocal lines that ache in the same vein as Mazzy Star and an artful approach to songwriting, Ami Leigh pushes the boundaries of alt-indie into dark new territories. This remix, rhythmically bolstered and erratically arcane, is a stunning ode to the panache of Trip Hop. It’s a track that resonates with those whose souls are married to the shadows, inviting them into the disquiet turbulence of a sound that is both haunting and profoundly contemplative.

Stream the official music video for the G185TARR Death by TripHop Remix of Dark Soul on YouTube now.

Review by Amelia Vandergast

The Controversy of Music Industry Plants in 2024

Industry Plants

Everyone loves a good underdog story; a rags-to-riches allegory which proves that regardless of your starting point in life, there are no limits to success, which may go a fair way in explaining why every stratospheric music industry ascent in 2024 results in accusations of artists being media plants.

In this article, we will explore what an industry plant purportedly is, the artists that have been brandished with this label, how the phrase is often misused and why the buzzword is leaving such a bitter taste in music fans’ mouths in 2024.

What Is a Music Industry Plant?

A “music industry plant” is a term that’s often used, sometimes controversially, in the music industry. It refers to an artist who is presented to the public as being a self-made, organic success, but who actually has significant backing from a major record label or industry insiders. The implication is that the artist’s popularity and grassroots support are not entirely genuine, but rather manufactured or heavily assisted by the industry.

Here are some key points about music industry plants:

Hidden Support: The artist may have significant financial, promotional, and professional support that isn’t disclosed to the public. This can include high-quality production, marketing teams, and connections that independent artists typically don’t have access to.

Image of Authenticity: These artists are often marketed as having risen to fame through their own efforts, such as through social media, word of mouth, or self-releasing music. This creates an appealing narrative of an underdog or a breakout star.

Controversy and Debate: The term is somewhat controversial and can be seen as pejorative. It’s often used by critics or fans who feel that the industry is being disingenuous about an artist’s origins and support. However, others argue that all artists require some level of support and that the term unfairly delegitimises the artist’s talent and hard work.

Impact on Perception: Being labelled as a plant can affect how audiences perceive an artist, potentially leading to scepticism about their authenticity and talent. However, it doesn’t necessarily diminish their popularity or success.

Industry Plants - Another Form of Sexism in Music — Unpublished

How the Phrase ‘Industry Plant’ is Misused in the Music Industry

Eric Skelton’s article on Complex delves into the misuse of the term “industry plant”. Skelton explains that while the concept of industry plants is real, with music executives sometimes using their influence to promote artists, the term has been overused and misapplied to artists who quickly gain popularity, without clear evidence of label trickery or deception.

The article highlights that a true industry plant is an artist whose success is primarily due to industry connections rather than artistic merit or genuine fan interest. Skelton uses the example of 4Batz, a Dallas singer who became a sensation with just three songs. Despite accusations of being an industry plant, 4Batz’s rise was a result of viral success and not industry manipulation.

The article criticises the quick judgment of new artists as plants without substantial evidence, noting that the term is now used as a lazy dismissal of any rapidly rising artist. Skelton argues that the term’s overuse detracts from its original meaning and is counterproductive to understanding the music industry’s workings. He suggests that instead of hastily labelling artists as industry plants, people should focus on the music itself and decide whether they like it, rather than getting caught up in unproductive conspiracy theories.

Which Artists Have Been Tarred with the Industry Plant Brush?

Over the years, several artists have been accused of being industry plants, often due to rapid rises to fame or perceived sudden shifts in their musical style or image.

Here are some artists who have faced such accusations:

Billie Eilish: Due to her rapid rise to fame and the polished nature of her debut, some speculated that she had significant industry backing. However, Eilish and her team have consistently credited her success to her unique style and organic growth through platforms like SoundCloud.

Lana Del Rey: After her breakout with “Video Games,” some questioned the authenticity of her image and backstory, suggesting she was a creation of the music industry. Del Rey has been open about her struggles and journey in the industry, countering these claims.

Halsey: Halsey’s rise to fame, particularly after she collaborated with The Chainsmokers on “Closer,” led to some labelling her as an industry plant. She has spoken about her grassroots beginnings and the hard work that went into building her career.

Lizzo: Lizzo’s sudden mainstream success, especially with her album “Cuz I Love You,” led to some speculation about industry backing. However, Lizzo had been actively making music and performing for years before her breakthrough.

Travis Scott: Some have speculated about industry support in Scott’s rise, particularly given his connections with established artists early in his career. However, Scott’s unique style and production skills are often cited as the primary drivers of his success.

Post Malone: Post Malone’s quick rise after “White Iverson” led to discussions about whether he had industry support. Malone has talked about his journey and the work he put into his music before and after becoming famous.

It’s essential to approach the topic of industry plants with an understanding that the music industry is complex, and the path to success can be varied and nuanced.

The Controversy of The Last Dinner Party

In 2024, it is impossible to talk about music industry plants without mentioning The Last Dinner Party, the Brixton-hailing indie group, which has been described as a modern-day paradox due to the millions of pounds of marketing being poured into their inarguably artfully affecting music. Stream their 2023 hit single, Nothing Matters, once, and you won’t be able to fight the compulsion to keep returning to the earworm.

Given the gravitas of their music, there’s no denying they were worthy of their Rising Star Award bestowed upon them at this year’s Brit Awards after they became BBC Radio darlings opened for the Rolling Stones and Hozier.

The Last Dinner Party | Showbox Presents

However, The Last Dinner Party’s express route to notoriety isn’t the only source of contention surrounding the band after a misquoted statement suggested that people no longer wanted to hear about the cost-of-living crisis in post-punk music.

Criticism surged through social media, accusing the band of being out of touch, especially considering the lead singer, Abigail Morris’ background from the affluent Bedales School. Bassist, Georgia Davies, who initially made the statement while discussing the scarcity of bands at the Brit Awards, claimed that the statement was used out of context, and in her original statement she wanted to emphasise how people are seeking escapism in theatrical music amidst a challenging political climate. She emphasised the band’s awareness of their privilege and their passion for supporting independent music venues and artists from marginalised backgrounds.

Why Music Fans Are So Averse to Industry Plants in 2024

In 2024, the aversion to music industry plants stems from a growing awareness and appreciation of authentic artistic journeys, especially in an era where social media has amplified the visibility of independent artists.

When industry plants use a facade of grassroots growth, the perception of inauthenticity clashes with the values of transparency and genuine talent. The frustration is further heightened by the visibility of numerous talented artists who tirelessly work to build their careers without significant industry backing.

Social media platforms have made it easier than ever to witness the struggles and successes of these independent artists. Fans can now follow an artist’s journey from their early stages, often involving years of hard work, setbacks, and gradual growth. This direct connection and the transparent view into an artist’s development foster a deeper appreciation for their efforts and achievements. In contrast, industry plants are often seen as bypassing this struggle, gaining unfair advantages through connections and financial backing. This can be perceived as undermining the meritocratic ideal that the best talent, regardless of background or connections, should have the opportunity to succeed.

The visibility of hardworking artists on social media, who may struggle to gain recognition despite their talent, underscores the perceived injustice of the industry plant phenomenon. It’s a narrative of authenticity versus manufactured success, resonating deeply in a culture that increasingly values genuine artistic expression and the democratisation of opportunity in the music industry.

Every talented band who isn’t getting paid their dues in the industry will have been told, ‘all you need is one lucky break’ by well-meaning fans and politely agreed, meanwhile knowing that all they really need is millions in marketing money at their disposal. So is it any wonder that artists who rise to fame and get all the backing they could possibly need are posited as the natural enemy of the average independent artists tolling the dilapidated fields of the music industry? The same goes for promoters who pour their blood, sweat and tears into promoting an artist only to be ignored by the gatekeepers such as the BBC and NME.

Article by Amelia Vandergast