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The term ‘indie’ in the music industry has become so ambiguous it has practically become as subjective as the meaning of life. Whichever way it is defined, it is still a massive part of the music industry in the UK and across the globe.

Originally, indie referred to how an artist distributed their music. Over the decades, it became a catch-all term for artists sharing the same sonic off-kilter edge; and, of course, the same moody yet inexplicably cool aesthetic. Indie, as a genre, only came around as the result of experimental artists in the 70s wanting to bring a new sound to the airwaves; instead of solely hoping for commercial success after appeasing one of the major record labels.

Indie artists adopted punk ethos they started to push the boundaries of pop. Instead of commercialising their sound, they pushed it into post-punk, shoegaze, synthpop, Britpop, avant-garde, noise rock and dream pop arenas. For all that separates bands such as Sonic Youth, the Cure, The Smiths, The Stone Roses, Joy Division, Elliott Smith and Radiohead, there is still so much that ties them together, namely their attitudes and the loud discordant style.

Along with the bands, iconic venues such as the 100 Club in London, the Hacienda in Manchester, and King Tut’s Wah Wah Hut in Glasgow had a pivotal part to play in the traction of independent artists and music. New Indie labels, such as Rough Trade and Factory Records, were amongst the first record labels to truly embrace and encourage experimentalism and authenticity in the artists they scouted and signed – taking New Order and Joy Division as a prime example.

It may have been a while since there was an indie breakthrough act as successful as the Arctic Monkeys, but indie music has far from lost its resonance. Besides, Monkeys won over 42 awards and sold over 20 million records, so that’s going to take some beating, and they’re certainly not the only indie artists currently thriving.

The Welsh indie rock icons, the Manic Street Preachers, celebrated their first number 1 album in 23 years with the release of Ultra Vivid Lament in 2021. The Tarantino-Esque Liverpool outfit, Red Rum Club, released their debut album in 2019, and got to number 14 in the official album sales chart with their album, How to Steal the World, in 2021. Perhaps most impressively, the world’s first CryptoPunk rapper, Spottie Wifi, made just under $200k in album NFT sales in 90 seconds this year.

Bristol’s Most Strident Troubador, Alex Comaish, Augmented the Ultimate Indie-Folk Anthem with ‘Brother’

Alex Comaish’s latest single ‘Brother‘ is a poignant narrative wrapped in an augmented fusionist production that splices jangly indie pop with warm echoes of Americana, transmits the essence of college radio rock, and throws back to the 90s Britpop era while following in Billy Bragg’s footsteps. The crisp and unpretentious production allows the song’s emotional core and Comaish’s raw talent to shine through and illuminate the airwaves with affectionate fervour.

This Bristol-based troubadour brings a fresh sincerity to the genre as he elucidates that brotherly bonds may not always tie you to the perfect person, but those connections are worth their weight in gold. His strident vocal performance is an energetically affecting testament to the unspoken love and unbreakable ties between siblings.

The vignette behind the song is as compelling as the track itself. Comaish’s lyrics, penned in the throes of adventure, are imbued with genuine gratitude and affection that’s often left unsaid in the hustle of daily life.

As the first of a series of releases planned for the year, ‘Brother’ sets a high bar. It’s a track that not only showcases Comaish’s songwriting prowess but also his ability to connect with his audience on a deeply personal level.

Brother was officially released on March 1st; stream the single on Spotify.

Review by Amelia Vandergast

San Ílios delivered retro-indie nostalgia as you’ve never known it before in ‘Wanderlust’

For their sophomore single, the up-and-coming alt-indie duo San Ílios explored a phenomenon that everyone can relate to; Wanderlust unfurls with sonic visualisations of freedom flowing throughout the indie-folk-pop production which cuts through various avenues of retro-indie nostalgia. Imagine an evocative synthesis of Radiohead, Modest Mouse and Coldplay, and you’ll get an idea of what kind of soundscape you will escape into when you hit play.

The vocal harmonies are as light and airy as the instrumentals that meld strident horn stabs with the steady ring of acoustic guitar strings, piano pop melodies and scintillatingly artful effects that allow Wanderlust to veer into art rock territory. By drawing influence from Keane, Arcade Fire, and U2, the UK-residing up-and-coming outfit gave their growing fanbase a taste of the familiar before feeding them swathes of ingenuity that will undoubtedly see them go far after the launch of their debut album.

Wanderlust was officially released on February 4th; stream the single on Spotify.

Review by Amelia Vandergast

Strange Tides chartered a voyage into indie ingenuity with ‘Out of Deep Waters’

Out of Deep Waters by Strange Tides, extracted from their Differentiation EP, is a striking illustration of indie music’s boundless potential. This multifaceted single is a masterful fusion of Grandaddy-esque synth melodies, crunchy grungy guitars, and an air of theatrical piano pop. It embodies the instrumental grandiosity of a rock opera while maintaining the intimacy of a bedroom indie pop track, presenting a revelation in experimentalism.

Kirsten Bale, the principal architect behind Strange Tides, based in Vancouver, BC, demonstrates her expansive musical vision and her folkish poetic eloquence in this sweetly sentimental track. Her role as both a songwriter and a producer, alongside sound engineer Dan Ponich, is evident in the meticulous crafting of this piece.

Bale’s relentless pursuit of new musical territories, experimenting with instruments, chord patterns, and genres, ensures a constantly engaging and fresh listening experience. For fans of Mitski and Lucy Dacus, Out of Deep Waters is an irresistible draw. The track exudes a sense of joy and creative liberation, evident in its playful composition style that knows no bounds. It’s an aural elixir, inviting listeners to savour its unique blend of sounds time after time. As for the lyricism, it could leave any of the great romantics weak at the knees.

Out of Deep Waters was officially released on February 15th; stream and purchase the single on all major platforms via this link.

Review by Amelia Vandergast

Suni blended harmony, hope and heartbreak in his alt-indie dreamscape, Cherry

Suni’s sophomore single, Cherry, captivates with a cathartically melodious blend of dream pop, ethereal trip-hop, and 8Bit-esque synthpop, marking a distinct evolution from his debut single, At the heart of things, moving beyond the nostalgia of Elliott Smith and the influence of The 1975, into a realm uniquely his own.

In Cherry, the Edinburgh-hailing artist crafted a soundscape that reaches the epitome of mellow intricacy. The track synthesises its influences without becoming a mere pastiche, showcasing Steven’s skill in blending genres. The instrumental layers are a rich, future-forward tapestry; there’s an 8Bit charm which twines with sophisticated, ethereal synths, creating a backdrop that’s both nostalgically retro and cutting-edge.

The vocal harmonies are a standout feature. Light yet laden with emotion, his voice weaves through the Cigarettes After Sex-esque production, delivering lyrics that explore the complexities of affection and self-identity; it’s a lyrical journey that is fated to resonate with listeners, encouraging authenticity and introspection.

As he continues to evolve and refine his musical identity, Suni is far from a work in progress, he is already one to watch in the alt-indie-pop scene.

Cherry fell from the tree and onto the airwaves on February 23rd; stream the single on Spotify.

Review by Amelia Vandergast

Welsh Singer-Songwriter, Samuel Evanson, changed the indie anthem game with ‘She Was Blind’

Samuel Evanson’s sophomore single, ‘She Was Blind’, is an intricate weave of sharp instrumental hooks and indie rock melodies that echo the infectious energy of The Vaccines. Yet, Evanson carves his own niche with a vocal performance that is both evocatively charged and endlessly affecting. His voice, rich in vibrato, effortlessly traverses a wide range, carrying the weight of heavy emotion with a finesse that is as haunting as it is exhilarating.

The track is more than just a wounded love song; it’s a raw, emotional outpouring that rages with a fervour akin to Sam Fender’s passionate narratives. His ability to convey deep-seated emotion while maintaining a distinct sonic signature is a clear sign Samuel Evanson has everything it takes to cut through the noise and climb the charts.

As a prelude to his upcoming debut LP, We Are Meant to Break the Rules, which is due for release in June 2024, ‘She Was Blind’ is a tantalising glimpse into Evanson’s artistic soul which was born in the heart of Denbighshire and honed in the vibrant music scene of Liverpool. Evanson’s journey resonates through every note of this emotionally charged anthem.

Watch the official music video for She Was Blind via YouTube or add the single to your Spotify playlists.

Review by Amelia Vandergast

Lizzie Hill put all her emotions on the line in ‘Dirty Laundry’

If you never got over t.A.T.u.’s hit single, All the Things She Said, Lizzie Hill’s latest single, Dirty Laundry, which uses oscillating synth lines and delicately evocative vocals in the same vein, has all the makings of your new favourite perennial pop earworm.

Blending the etherealism of dream pop with the hooks of a synthpop anthem, Dirty Laundry lays it all out on the line in the intimately electrifying production, which proves that the Cornwall-residing singer-songwriter and multi-instrumentalist’s talents belie her years.

As the lyrics relay a relatable vignette of how friendships can turn sour in a sequence of imbittering progressions, Lizzie Hill projects swathes of morose emotion in her perfectly pitched vocal lines while ensuring Dirty Laundry remains a soulfully euphonic anthem of liberation from the toxic ties that bind you to people determined to diminish your self-worth.

It’s a stunningly creative and affectingly cathartic release through and through and a clear sign that the singer-songwriter has exactly what it takes to dominate the pop domain in 2024.

Dirty Laundry will be officially released on March 1st; stream the single on all major platforms via this link.

Review by Amelia Vandergast

Anxious affection resounds in The Good Neighbors’ synth-swathed synthesis of alt-pop and indie-rock, Room for You

The Good Neighbors borrowed a cup of earmilk from The Strokes for their latest single, Room for You, before pouring it into a synth-swathed production that eclipses the contemporary indie synthwave trend.

After moving away from their syntheses of alt-rock and punk, The Good Neighbors aligned their creative ambitions with their passion for painting across the alt-pop and indie-rock spectrum. Room for You not only exhibits the duo’s softer side; you can FEEL the authenticity, soul and delicious devil-may-care approach to constraint-less fusionism. The seminal single is uninhibited expression in scintillatingly melodic motion.

The jazzy neo-pop middle eight extends the experimentalism to the nth degree to assert the Buffalo, NY-hailing duo as genre fusionists that are a cut above the rest as they regale a vignette of anxious affection and explore the neuroscience of expanding our minds to accommodate people capable of turning our world’s upside down. Hit play and meet your new aural addiction.

Room for You will hit the airwaves on March 1st. Stream the single on Spotify.

Review by Amelia Vandergast

Ami Leigh darkened Americana’s Door with the Luxe Beguile in Her Ground-breaking Single, Foretold ft Neil Gibson

Ami Leigh, hailing from County Durham, UK, has long been an aurally beguiling chameleon. Her latest single, Foretold, marks a striking foray into country rock, infused with the essence of Portishead and the chill of rock-licked post-punk.

Foretold is a poignant narrative of doomed love regaled through Leigh’s crystalline vocal lines. Her voice, imbued with soulful clarity, weaves through the hauntingly reimagined Americana soundscape, creating a contrast that is both striking and harmonious. The cold, instrumental chill she introduces strips the genre of its traditional warmth, yet the ensuing guitar solos ignite a familiar country rock fire. This juxtaposition is Leigh’s genius, offering a fresh, yet respectful nod to her influences, ranging from The Cure to Pink Floyd.

Neil Gibson’s contribution cannot be overlooked. His guitar work echoes the emotional turbulence of the song’s narrative while elevating the release and adding layers of complexity and familiarity, ensuring Americana aficionados won’t feel lost in the artfully arcane textures. Foretold doesn’t just belong to the country rock genre; it expands it.

If you have ever endured a relationship fated to meet an ugly demise and come out the other side imbittered by your own naivety, expect Foretold to hit hard as the guitars shimmer and the harmonies bring you to rapture.

Watch the official music video for Ami Leigh’s latest single on YouTube, add it to your Spotify playlists, or purchase the track on Apple Music.

Review by Amelia Vandergast

TALK IN CODE injected modernism into the euphonic aura of the 80s with their indie synthpop hit, Something of Nothing

TALK IN CODE’s latest single, Something of Nothing, is effortless to translate. The Swindon-based fourpiece injected modernism into the euphonic aura of the 80s to deliver a perennial pop earworm that will hook you into its core as it laments on people who can’t fight the compulsion to clamour over drama.

As the nostalgically retro synths cascade around the angular indie jangle-pop guitars, the vocals that flow with the new wave of pop pull you deeper into the anthemics of the rhythmically bolstered track that moves beyond stylistic influence.

If you’re sick of wading through the landfill of contemporary indie pop that now monolithically towers over what we had to contend with in the 90s, the cultivation of Something of Nothing will allow you to remember how it feels to get truly excited by a new outfit – you won’t be alone. TALK IN CODE has garnered swathes of critical acclaim from BBC Introducing, Q Music and Amazing Radio to supplement the fervour from their loyal fanbase.

After gracing over 500 playlists and racking up 300k streams across streaming platforms, indie ensembles don’t come much more promising than TALK IN CODE. If you got caught up in The 1975 hype, find a new obsession by hitting play on Something of Nothing.

Something of Nothing will be available to stream on all major streaming platforms, including Spotify, from March 1st.

Review by Amelia Vandergast

NYC’s Lucid Lip synthed up their soul-rock signature in their achingly bitter-sweet release, No Ones’ Burden

Lucid Lip, a band which always knows which heartstrings to pull and notes to play, took their sound to more experimental synth rock territory while maintaining their evocatively impactful finesse with their latest single, No Ones’ Burden.

Staying with their signature sound of soulful alt-rock clearly doesn’t creatively hinder the powerhouse which has become integral to the NY live music scene after playing Rockwood Music Hall, The Bitter End, Our Wicked Lady and countless other renowned venues in their 10-year reign as one of the most versatile acts in the NYC circuit.

After a Grandaddy-meets-Owl-City-esque synthy prelude, No Ones’ Burden kicks into a melodiously energised alt-rock-goes-pop groove as the smoky with soul vocal lines project aching melancholy into the tonally dynamic, harmonically-heightened release. Chris Cornell himself couldn’t have conveyed the emotion in the intimate lyricism better; the candour-fuelled confessionalism of the release is bound to resound with anyone who knows how bitter-sweet it feels to be beholden to no one and be perpetually resisting the temptation to live fast and loose.

No Ones’ Burden will be available to stream on all major platforms from March 1st.

Review by Amelia Vandergast