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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.

USUALLY MODEST became the biggest free-from-vanity rockstar in pop with ‘Toothpick’

Posted on 7 June 2024

USUALLY MODEST came in red-hot with his latest rock-licked hypersonic pop hit, Toothpick, which blurs genre boundaries through an explosion of high-energy hooks and a sense of unfettered exuberance that becomes infectious from the first progression.

Unravelling like an accelerated sonic lovechild of the Weeknd and the 1975, Toothpick speeds past contemporary trends, arriving safely in the confines of the future of pop, inviting listeners in by laying out a doormat woven by innovation

Just as his moniker would lead you to believe the up-and-coming Switzerland-born-and-raised artist with Ukrainian roots, his free-from-vanity sensibility shines through in Toothpick. The sticky-sweet emotional underpinnings are the cherry on the hyper-augmented sonic cake, which will undoubtedly allow the self-taught singer, songwriter and producer to rack up even more streams.

Since his humble beginnings on SoundCloud in 2017, USUALLY MODEST is well on his way to becoming a viral sensation. In the last three years, he’s racked up over 350,000 streams on Spotify along with 50,000 total views on YouTube. His standout single, Soul Searching, has also been in regular rotation on one of the biggest Swiss urban radio stations, yet, we’re sure that there are far bigger accolades waiting to fall on the revolutionary.

Stream the official music video for Toothpick when it premieres on June 7th via YouTube.

Review by Amelia Vandergast

AFTERDRIVE buried indie landfill under the immensity in their latest anthem, Gold Dust

Posted on 7 June 2024
AFTERDRIVE

The Ipswitch indie-rock breakthrough band, AFTERDRIVE, hit the wheel and blazed beyond contemporary trends with their latest single, leaving outfits in the vein of the 1975, M83, and The Neighbourhood in the ‘Gold Dust’ of their viscerally textured hit.

Ben Watts’ distinctive vocal inflections relentlessly hit raw nerves with the projections of vulnerability in the bitter-sweet release which embodies the band’s determination to bring small-town boredom blues to an international stage.

The instrumental evocative artillery shows little mercy; after showing melodic restraint within the verses, the choruses cascade into augmented alchemic chaos as the alt-indie-rock guitars construct walls of sounds to encase you within the brooding atmosphere of the intense narrative of affliction as the upbeat synths resonate as the last feign of hope in the outpour of ennui.

After their debut single, Stick Around, met critical acclaim and received regular airplay from BBC Introducing and more success was sealed with every subsequent release, we have no doubt that Gold Dust will seal the artist’s fate as one of the biggest names in the UK indie scene.

Gold Dust will be available to stream on all major platforms from June 7th. Discover ways to listen via the official AFTERDRIVE website.

Review by Amelia Vandergast

Nathalie King – More: A Sensory Trip-Hop Revelation

Posted on 5 June 2024

Toronto’s ethereal electropop enchantress, Nathalie King, has recently unleashed ‘More’; a sense-awakening cinematic score of scintillating trip-hopped electropop and deep house waves of euphoria that pull you right into the gravitational force of this paralysingly lush soundscape.

The track delivers vocal lines that are just as melodiously luxuriant as the pulsating progressions in a style that will never go out of trend. It’s safe to say King has broken the spell of throwaway pop culture with this seminal release The sensory staying power will stand the test of time as a monument to King’s ability to render catharsis into her staunchly accoladed serene productions, which reverberate with arcanely rendered audial bliss. Nathalie King’s music is noted throughout the industry for its cinematic gravitas which envelops her dynamic vocal range which is just as comfortable in a sultry low register as a soft and melodic upper range.

King is currently working on her new EP, PTSD, which is slated for release in 2024 and has become a therapeutic means to overcome childhood trauma and enduring depression. Collaborating with Bristol-born producer Joseph Snook, PTSD promises King’s fans a more electronic and UK-centric sound.  Away from her solo music, King has garnered attention with placements in commercials and TV shows; she also continues to contribute to Universal Production Music UK and perform throughout Toronto and Europe.

Watch the official music video for More on YouTube now.

Review by Amelia Vandergast

Prepare for a post-punk power surge when LIINES unleashes their kinetic comeback track, Holding On

Posted on 5 June 2024
LIINES

The emotional underpinnings of longing in Holding On capture exactly how LIINES fans have felt while waiting for the new material to surface. It’s been almost three years since the last fix from Manchester’s post-punk revolutionists, now that it’s here, prepare to be overpowered by propulsively kinetic earworm.

From the first lashing of the seething with distortion guitar strings, you know you’ve hit play on a track capable of tearing your soul in two and stitching it back together with threads of adrenaline, desperation and hope. Intensity reaches every aural atom in the light-handed production that allows Zoe McVeigh (vox, guitar, bass) and Leila O’Sullivan to exhibit the raw magnetism of their creative synergy.

Charged with hauntingly emotional potency and driven by a frenetic rhythmic pulse, Holding On unravels with the same catchy lyrical reprises projected through the signature songwriting structure that has allowed LIINES to be a continuation of Manchester’s post-punk legacy, not just a mere mediocre facsimile.

Yet, notably, there’s a heightened sense of vulnerability within Zoe’s stridently pitched searing vocals, ensuring Holding On hits every feasible raw nerve before tearing you away from the articulated agony through the liberation within the exhilarant progressions.

From the release of their 2018 debut LP, LIINES has pushed post-punk into unchartered waters, With their renewed cultivated edge carved by the Sleater Kinney influence that reverberates through the single until the haunting Pixies-esque middle eight that allows the vox to drift from the basslines as they prowl under the optimism searching harmonies, their distinctive volition met freshly honed prowess.

Holding On will be available to stream on all major platforms from June 7th; pre-save the single here, and follow LIINES on Facebook to stay up to date with news of the upcoming EP, due for release in Autumn 2024.

Review by Amelia Vandergast

Nicole Leaskk unveiled RnB’s most authenticated modern love story with ‘Want You’ ft Strizzy Strauss

Posted on 5 June 2024

Nicole Leaskk’s latest Afrobeat-heated single, Want You, is a subversive symbol of defiance in the face of RnB tropes. If you’re tired of the lyrical fawning and mourning old flames as their light dims, tune into the 90s RnB-inspired summer pop anthem that captures the passion of tragically relatable conflict. Tempers run as hot as the tones in RnB’s most authenticated modern love story.

The reprising lyric “I don’t even want you, I just want to prove you’re mine” testifies to the inevitability of becoming an unwilling pawn in mind games if you dare to delve into the dating pool as Latin flavours ooze through the guitars and percussion and bring the rhythmically kinetic groove in the Afrobeat-tinted production.

Strizzy Strauss’ grime-y rap bars work in dynamic contrast to Nicole Leaskk’s firebranded vocals as he delivers the other side of a cat-and-mouse vignette of tormenting prey before casting aside and moving onto the next chase.

The flawless execution of Want You will undoubtedly leave the UK singer-songwriter open to more critical acclaim. If you’re still sleeping on her, you may as well be in a coma.

Want You was officially released on May 31; stream the single on all major platforms via this link.

Review by Amelia Vandergast

Candy Rush debuted with her quirky pop revelation, Don’t Even Wanna Know

Posted on 5 June 2024

Don’t Even Wanna Know is the satirically sweet quirky pop debut from the Romanian London-based artist, songwriter and producer, Candy Rush (Elena Ilie). Play it loud and amplify the voice of this generation that is becoming increasingly tired of plastic pop protagonists who shirk autonomy while rattling a begging bowl for commercial success.

The debut is stylistically saccharine enough to implant a voracious sweet tooth in anyone who swims in its honeyed tides of the single which allows idiosyncrasy and autonomy to ebb and flow throughout the avant-garde mix of alt-pop, neo-jazz, funk and soul.

“It feels like an infection to deal with your perfection” is just one of the introspectively enlightening lyrics which embody the lyricist’s ability to move far past the tired tropes and deliver lines that catch you off-guard with the resonant obscurity. Her playful approach to vocal arrangement and unorthodox grooves resulted in a ground-breaking debut which embodied her desire to exhibit the quirks and contradictions of modern life.

With the accessibility of the proverbial girl next door and a talent that could rival HONEYMOAN, Candy Rush will prove to be a force to be reckoned with as she rises up from the alt-pop underground.

Don’t Even Wanna Know was officially released on May 24; stream the single on Spotify.

Review by Amelia Vandergast

Spotlight Feature: ELZON broadened the alt-RnB hip-hop horizon with his psychedelic trip of a hit, ‘expensive dreams’

Posted on 4 June 2024

ELZON redefined the boundaries of alt-RnB and hip-hop with his latest single, expensive dreams. The London-based artist, known for his rich cultural background and boundary-pushing music, delivered a scintillatingly serene installation of hypnotic innovation which begins with a visionary overture that lures listeners into transcendence, where dreamy 8-bit tones meld seamlessly with cloud rap influences.

The track is a kaleidoscope of cultivation, opening a portal to unrestrained artistic expression. As the song progresses, it builds towards a mesmerising mid-section, characterised by ethereal falsettos reminiscent of The Weeknd’s early work. This shift in tone, akin to a record player hitting play on a fresh LP, elevates the track into a crescendo that injects subtle intensity and speaks of ELZON’s status as a revered pioneer who is well on his way to becoming a viral sensation.

Produced between London and Manchester, with the signature touches of Elliot Taylor and Blamebrazy, expensive dreams is a testament to ELZON’s relentless pursuit of pushing leftfield sounds into the mainstream.

ELZON describes the track as a “psychedelically experimental rap/RnB track inspired by Frank Ocean and Lucki, featuring cloud rap-influenced instrumentals and Blond-esque pitched vocals”. This fusion creates a lush soundscape of surreal serenity that speaks to the senses louder with every listen.

ELZON’s journey from his early days making music in his bedroom to collaborating with Grammy-nominated producers attests to his talent and dedication, which the airwaves will see more of later this year when he unleashes his art PUNK mixtape.

Stream expensive dreams on Spotify, and follow ELZON on Instagram.

Review by Amelia Vandergast

Matching Drapes reinvented Riot Grrrl with the infectious indie rock single, all my friends are (snakes)

Posted on 3 June 2024

If you attempted to temper your teenage angst by cranking up Jack of Jill, Bikini Kill, and Babes in Toyland, tune into the latest single, all my friends are (snakes), from the bratty resistance against misogyny, Matching Drapes.

Taken from the manslaughter EP, all my friends are (snakes) injects the modern reverberations of infectious indie rock into a 90s Riot Grrrl aesthetic, moving far past the mediocrity of uninspired pastiche.

As the basslines prowl, the overdriven guitars augment the single with a level of volition fitting for the tongue-in-cheek articulation of outrage as the vocals spit out the venom of fake friends. We all have them, yet, when the single was organically conceived from a jam session, Matching Drapes intended for the track to be an invitation to shed inhibition and imbibe in rhythmic hedonism.

The project by Berlin/Reykjavik band, comprising the two frontwomen Arndís Rán and Jacquie Hirt, started in 2023.  To record their debut EP, they were joined by Liam Harrison (lead guitar), Toby Savill (rhythm guitar), Niclas Liebling (Bass) and Adrian Lizarraga (drums). As a fully-fledged unreckonable force, they’re not a band you want to leave off your radar.

all my friends are (snakes) will be available to stream on all major platforms, including Spotify and Soundcloud, from May 31.

Review by Amelia Vandergast

The future of alt-rock arrived with Zegovia’s grungy punk-pierced protest, (It’s All Just) Noise

Posted on 3 June 2024

Imagine an immensely volatile lovechild of Dinosaur Jr and Pavement with punk proclivities, and you’ll get an idea of what Zegovia birthed with their latest single, (It’s All Just) Noise.

After the warm overdriven guitar chords swathe the pulsative drum rhythms with discordance in the intro, the rancour strips back as angular notes deliver intricately off-kilter melodies, creating a raw edgy aesthetic that speaks to how sharp Zegovia cut their teeth before they delivered the hook-rife controlled chaos in (It’s All Just) Noise.

So much more than your assimilative bubble of alt-90s nostalgia, Houston’s most inventively authentic alt-rock outfit rose up from the sludgy ennui of grunge, driven by the punk rock ferocity that is clearly running in their veins.

After feeling the full force of the visceralism in their latest release, it is evident that the four-piece’s determination to keep the pulse of rock beating in their rhythm won’t be in vain. Sleeping on a bed of nails would be easier than sleeping on Zegovia.

(It’s All Just) Noise arrived on the airwaves on May 24; stream the single on SoundCloud.

Review by Amelia Vandergast

Ella Eliza’s Life Without Me Is A Journey Through Heartbreak and Self-Discovery

Posted on 2 June 2024

London’s queen of queer pop Ella Eliza, exhibited the difference between a singer and a soulstress in her latest single, Life Without Me, which firmly puts her in the latter camp.

With spiritual motifs littered through the lush-with-transcendent-textures single that allows the brooding basslines to create a moody atmosphere for the indie jangle pop guitars and glassy synths to explore, Live Without Me breaks new evocative ground as Eliza exhibits her full vocal range from low sonorous reverberations that bring home the gravity of the vulnerable lyricism to the harmonic highs.

Life Without Me reaches the epitome of vulnerability as Eliza navigates the complex landscape of relationships in the context of self-discovery. By sonically visualising the precipice of potential romantic loss, the urgency in the lyrics which were penned in the aftermath of a breakup cuts deep.

Life Without Me will be available to stream on all major platforms from May 31; for the full experience, stream the official music video on YouTube, which was created in collaboration with the multi-award-winning LGBTQ+ filmmaker, Frankie Joe Gommon.

“After speaking with Frankie about making this video, I decided that I was ready to open up about my sexuality for the first time, and let my audience in on some of the most vulnerable parts of myself. I think there’s still a part of me that’s that 13-year-old girl, who’s scared of showing so much of themselves. I am a lot more comfortable with who I am now, but I think the video reflects my past – which is the current reality for a lot of queer people. My biggest hope is that this song and the video resonates with people who are still trapped in that place, and can inspire them to be their most authentic selves.”

Review by Amelia Vandergast