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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.

Luke O’Hanlon’s ‘The Parrots of Lark Lane’: A Feathered Alt-Folk Elegy to Liverpool’s Hidden Magic

Liverpool alt-indie folk singer-songwriter Luke O’Hanlon becomes a conduit for naturalism and catharsis when armed with his acoustic guitar and warmed vocal chords. Released on the 31st of March as a teaser from his upcoming LP, The River Only Flows One Way, the standout single The Parrots of Lark Lane allows listeners to witness his infatuating sensitivity—his rare ability to perceive what we usually overlook.

As the track unfurls, it evolves gracefully into a Neutral Milk Hotel-esque lo-fi arrangement, with O’Hanlon, the poet of melody, gripping his pen firmly as he writes calligraphy with his affecting sonic signature. There’s a touch of James Yorkston in the observational clarity of his lyricism; its gentle grandeur inspires listeners either to adopt a similar macro lens or simply indulge in the reverie of his unique perspective. His innate gift lies in tying personal experience to wider phenomena, creating tenderly affectionate parables of everyday existence.

O’Hanlon, known for weaving poetic storytelling with evocative melodies, continues to delve into nostalgia, survival, and the quiet poetry found in ordinary life. His latest single gracefully blends sharp observational songwriting with surreal beauty, honouring Liverpool’s iconic Lark Lane with affectionate authenticity. Through O’Hanlon’s lens, even the smallest details feel monumental.

The Parrots of Lark Lane is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Keli Woods’ ‘Around the Sun’: An Alt-Pop Anthem Illuminating Life’s Luminous Transience

Keli Woods’ latest single, Around the Sun, masterfully plunges listeners into vivid visualisations of its emotive thematic depths. Bathed in tonal warmth from the opening rays emanating from acoustic guitar strings and magnetically arresting vocals, the song immediately invites you into its temperate bliss. As the track progresses, synths scintillate grooves and beats as a funk fusion is dripped into the soul-driven earworm,  further textured by folk-esque instrumentation, amplifying Woods’ storytelling chops.

Possessing a dance-worthy chorus balanced by verses that encourage introspection, Around the Sun leaves little unfulfilled. By the outro, the track becomes a celebration, fortifying our gratitude for the fleeting sands of time and our shared human existence.

Woods, a UK-based multi-instrumentalist and former monk, distils his diverse experiences—ranging from big band swing and Vedic kirtan to musical theatre—into profoundly soulful compositions. Once poised for West End stardom at just 11 and leading a teenage jazz band touring Swansea’s streets in their whimsical ‘Jazz Ambulance’, Woods stepped away from music to seek deeper meaning through monastic life. Returning with renewed purpose, he now harnesses music as a conduit for philosophical exploration, crafting lyrical narratives that confront life’s significant questions with fearless authenticity.

With Around the Sun, Keli Woods has delivered a luminous alt-pop anthem—a reminder of our innate desire to savour existence.

Around the Sun is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Matcha & Mayhem: A Conversation with Cami Bear

Cami Bear marks her return with the unapologetically sharp single, matchacoldbrew, ushering listeners into a fearless new era defined by confidence and contradiction. Rejecting expectations to fully embrace intuition, Cami unpacks her fresh artistic philosophy, inviting us into a creatively liberated space that feels both vivid and deeply personal. Partnering with Atlas Lens Co., whose cinematic credentials include groundbreaking films like Everything Everywhere All at Onceand The Batman, she crafts an emotionally tactile universe steeped in glamour and grit. Through this conversation, Cami candidly discusses the tension between digital experimentation and human imperfection, the courage behind creative reinvention, and the importance of celebrating chaos as much as polish. With characteristic wit and honesty, she offers a  look into her newest chapter, challenging her audience—and herself—to boldly claim their own contradictions.

Welcome to A&R Factory, Cami Bear—it’s a pleasure to have you with us as you usher in a bold new chapter with matchacoldbrew. The single signals a new era for you creatively—what sparked the shift, and how did you approach reintroducing yourself on your own terms? 

This shift came from finally giving myself permission to create without overthinking. I used to mold myself to expectations—whether industry, aesthetic, or sound—but matchacoldbrew is me trusting my instincts. It’s playful, sassy, and layered, like me. I wanted to reintroduce myself with something that felt effortless yet intentional, letting the music and visuals speak before I did.

Reinvention can be a powerful tool, but it also comes with risk—how do you navigate shedding past versions of yourself while staying rooted in your artistic instincts?

I don’t see reinvention as abandoning past versions of myself—it’s more like evolving them. Every chapter of Cami Bear thus far has been real to where I was at that time. I let my instincts guide what stays and what gets left behind. The key is staying honest. If a sound, a look, or an idea doesn’t feel real to me anymore, I don’t force it.

The collaboration with Atlas Lens Co. adds cinematic weight to your vision—can you walk us through how that partnership formed and what it meant to have their backing for your latest video? 

The collaboration happened organically, Atlas Lens Co. teamed up with talented director and editor Max Lin to carry out this submission-based initiative called “MONTH2MONTH” where they hand-picked brands and artists to sponsor a video for and spotlight monthly. I submitted a pitch earlier this year and Max replied the next day, the rest was history. Having their lenses shape this video gave it a timeless quality. It means everything to know that a company of such high calibre, behind some of the most powerful films today (Anora, Everything Everywhere all at Once, The Batman) and ever is now part of my story too. I’m so grateful to their whole team and everyone involved. I’m still wrapping my head around it.

You’ve mentioned your commitment to building worlds for your fans—what emotional and visual cues were non-negotiable when constructing the universe of Matcha Cold Brew?

It had to feel tactile like you could step into it. I wanted viewers and listeners to relive that night and that morning with me. Channeling something so oddly specific through art is challenging but we stuck to our gut and opted for the details that bring you to that place, no matter how niche. Cinematic lighting and movement were non-negotiables. In terms of visuals, we wanted it to transport you to the darkest places of the morning after while still keeping it fabulous, this goes for styling as well. Emotionally, I wanted a balance of dreaminess and sass—something surreal yet unapologetically me. I played with contrast a lot: soft moments with sharp edges, fantasy with reality. It’s all about duality for me.

You often speak about embracing contradictions—how do those themes of chaos and polish, glamour and grit, surface in both the sonic and visual elements of this release?

High contrast is my thing, we really wanted to make it pop here. To put it in the most simple terms this whole song is about embracing the good in the bad. I took my Sunday Scaries spin on that. I asked my creative team: How do we make the ugly look and feel glamorous? How do we make lyrics about bad times feel cute? Listen to the song today and watch the video on April 18th, I think we did a great job at answering those questions.

You push boundaries not just musically but conceptually—how does technology inform the emotional layers of your sound, and where do you draw the line between digital precision and human vulnerability?

I’ve always said that a huge part of my mission as a creative is to bridge the gap between technology and emotions. I play with technology a lot. Technology allows me to explore textures and moods I haven’t quite found the words for. But no matter how much I experiment, I always leave room for imperfection. That’s where the human side comes in. I’m drawn to first takes, breaths between words, things that feel alive, and visuals that don’t feel conventionally perfect.

With reinvention at the heart of this project, how has your relationship with your audience evolved—and what do you hope they take away from this version of Cami Bear?

I think my audience is growing with me. They’re seeing me take creative risks, and hopefully, that’s making space for them to do the same in their own lives. I want them to take away the idea that reinvention isn’t about fixing yourself—it’s about uncovering who you’ve been all along. That means embracing your mistakes, your boldness, your messiness—every unpolished and chaotic part of yourself. I want them to feel unapologetically them and to take up space without second-guessing it. And honestly, I just think it’s hilarious that I’m conveying all of this through the time I walked home from a one-night stand. I love art!

As this chapter begins, what’s keeping you energised behind the scenes—are there any habits, collaborators or creative rituals fuelling this current momentum?

Collaboration keeps me inspired. I’ve been working with people who challenge me in the best ways, pushing me outside my comfort zone. Also, daily rituals—matcha in the morning (of course), working out, and spending time offline. Protecting my energy is key to keeping this momentum going.

Stream Cami Bear on Spotify.

Interview by Amelia Vandergast

Darcy Thomas’ ‘It’s You’: Aussie Pop’s Anthemic Heartbreak in Full Bloom

Darcy Thomas’ latest single, ‘It’s You’, carries 00s pop nostalgia in acoustic guitar chops that lend immediate intimacy before the track swells into an anthemic radio-ready proclamation. Raw rock riffs spike through the chorus, fuelling a heart-in-throat crescendo as the lyrical protagonist lays it all unapologetically on the line.

The emotional intensity strikes hard enough to bruise, providing a bittersweet reminder that fairytale love stories rarely survive off the page, screen, or airwaves. Thomas deliberately avoids neat resolutions, leaving listeners tangled in ambiguity as they root for a protagonist faced with losing the one person who makes them feel whole.

At just eighteen, Darcy Thomas has transitioned from writing his first song at six to crafting his vocal identity under the watchful eye of renowned vocal coach ‘Mama Jan’ Smith, whose clientele famously includes Justin Bieber and Usher. Alongside producer Greg Stace, whose guidance at Ignite Studio in Alexandria has been pivotal, Thomas has shaped a visceral sound ready to capture global attention through its expansive cross-over appeal.

‘It’s You’ is now available to stream on all major platforms via this link.

Review by Amelia Vandergast

Arnold J.’s ‘Eden is Burning’: An Alt-Rock’s Cosmic Elegy to Lost Paradise

Arnold J.’s latest single, ‘Eden is Burning’, allows listeners to imagine Tracy Chapman’s iconic singles filtered through Bowie-esque cosmic pop-rock, soaring riffs, and twilight-drenched synths. The Ghanaian-born, Canada-based artist, whose creativity first took root amidst the streets of Ghana, defies every boundary with a genre-fluid sound built from raw emotion and untethered imagination.

‘Eden is Burning’ instantly grips with eccentrically ethereal vocals, weaving swooning melodies haunted by 80s nostalgia without succumbing to convention. The experience echoes the otherworldly charm of Science Fiction/Double Feature from the Rocky Horror Picture Show—except here, the surrealism intensifies. Arnold J. crafts a love song steeped in desolation, a harbingering elegy to the absence of someone capable of transforming the seventh ring of hell into a utopian escape.

Arnold J. has always marched to his own rhythm, from daydreaming melodies in Ghana to electrifying thousands at Assiniboia Downs on Canada Day. With ‘Eden is Burning’, he continues this pursuit, sculpting sonic portraits from poetic introspection, surreal imagery, and existential musings.

For alternative rock listeners drawn to music that traverses emotional depths and existential heights simultaneously, Arnold J. offers an experience as profound as it is soul-stirring.

‘Eden is Burning’ is now available to stream on all major platforms, including YouTube and Apple Music. 

Review by Amelia Vandergast

Paradise Drive’s ‘The Phenomenon’: Alt-Rock’s Interstellar Ride into Sonic Rapture

Paradise Drive

Paradise Drive is an alt-rock powerhouse delivering orbital euphoria through razor-sharp songwriting chops, interstellar production stylings, and a seamless transcendence beyond simply presenting as a talented act. Throughout their latest album, The Phenomenon, you won’t merely marvel at the evident virtuosity; instead, you’ll become locked into every emotional nuance as it ebbs and flows through kaleidoscopically alchemic progressions.

The opening track pulls you into a riff-raw reverie reminiscent of 00s indie rock—yet propelled further by spacey pedal-to-the-metal momentum, allowing oscillations to move effortlessly via sonic osmosis from airwaves into emotion. Bridging anthemic resonance with introspective quiescence, Paradise Drive taps uncharted intersections within alt-rock, confidently steering innovation towards one of the most dynamic albums of 2025.

From 80s new-wave synth-pop ballads like the standout single, ‘Girl on the Plane’, which fans of The Midnight will undoubtedly devour, to the cathartic rancour of ‘Let’s Be Clear’, The Phenomenon exceeds the promise implied by its title, leaving nothing to be viscerally or evocatively desired.

Led by guitarist and vocalist Hugo De Bernardo, Paradise Drive creates meteoric, immersive experiences, fusing the soulful ambition of Coldplay, U2’s ethereal expansiveness, and the contemporary zest of The Band Camino. Their songs, anchored by themes of love, heartbreak, and personal evolution, resonate affectingly through soaring melodies and lush, electronic-tinged rock landscapes, proving their powerhouse reputation is well-deserved.

The Phenomenon is now available to stream on all major platforms. Discover your preferred way to listen via the artist’s website.

Review by Amelia Vandergast

John Drake’s ‘Ocean’ Washes Poetic Desolation in Waves of Soul-Stained Rock

John Drake

With his debut solo single Ocean, the truly prodigal rock n roll conduit John Drake has torn away from The Dust Coda to expose a more vulnerable but no less arresting facet of his talent. The first single from his solo debut Separation Songs is a slow-burning catharsis, steeped in self-doubt and the inertia of ambition, as he captures the conflict between longing and paralysis with a voice that gnaws away at the walls of the soul.

While Drake was never short of emotional artillery during his thirteen-year stint with The Dust Coda, Ocean is where he gives full licence to his inner poet. Resulting in a production steeped in haunting nostalgia, built on Bowie-style acoustic murmurs and thick, lumbering beats that drag you into a Radiohead-reminiscent realm where nothing is safe from introspection. There’s a quiet sense of disquiet that swells under the surface—never theatrically melancholic, always grounded in raw human ache.

Drake’s vocal delivery alone makes the release a force to reckon with—teetering between the cavernous grit of Eddie Vedder and the fragile celestial range of Buckley. It’s not a sound engineered to pander, but one engineered to bruise with truth.

Written in the aftermath of an identity-shedding leap of faith, recorded between Brisbane and London with ARIA-winner Cody McWaters and long-time collaborator Chass Guthrie, Ocean transcends the trappings of its influences. Nick Cave’s brooding presence lingers, Springsteen’s resilience flickers at the edges, but what Drake builds is unmistakably his: a cinematic alt-rock elegy for anyone who’s ever feared they might be swallowed whole by the scale of their own dreams.

Ocean is now available to stream on all major platforms via this link.

Review by Amelia Vandergast

Byron Ciotter used lo-fi melodic rock as a confession booth through his latest single, Impossibilities

https://music.youtube.com/watch?v=xIoxuYgJ1Ws&si=Hk5o4XXhIdFne8oz

There’s something arrestingly primal in the way Byron Ciotter strips his soul bare in Impossibilities. While most artists polish pain until it sparkles, Ciotter lets it crack and creak through every chord in this lo-fi melodic rock elegy that aches with the weight of unprocessed loss, love, and the universal pull of unanswered questions.

Drawing from two decades of eclecticism that started in Southern Maryland’s metal scene in 2005, Ciotter’s path to Impossibilities was paved through the wreckage of trauma, the solace of connection, and the quiet contemplation of death, divorce, and fleeting affection. It’s a long way from distorted riffs and high-octane catharsis—now the weight is carried by pared-back progressions that resound like intimate confessions. There’s no filter between the listener and the flood of reflection. Every note feels lived in, every lyric sounds like it was torn from the back page of a notebook too private to publish.

While Ciotter may never claim a crown for innovation, he’s reached the epitome of emotive expression. His unembellished approach to songwriting serves as a raw conduit of connection, one forged in the fires of personal experience and cooled in the lo-fi tones of acoustic melancholy.

Impossibilities is now available to stream on all major platforms, including YouTube. 

Review by Amelia Vandergast

ZKIN Expose the Sociopathic Script in ‘Breaking Me Down’ – A Synth-Pop Autopsy of Emotional Erosion

ZKIN’s latest single, Breaking Me Down, tears through the surface with haunting synth-pop stylings that shimmer with trip-hop unease and indietronica nuances. The Swedish duo, formed in Linköping by Jonas Gustafsson and Malin Jeraeus, have crafted their own genre by refusing to compromise their vision to fit a template. Their self-styled descriptors—Dessert Soul, Bristol Blues, Cinematic Industrial Synth Rock—speak to their obsession with pushing past the expected.

The production operates like strobe lighting through fog—illuminating the disorientation of psychological warfare in toxic dynamics. The synth arrangements soundtrack a spiral, while the lyrical plot is paced like a psychological thriller. Jeraeus delivers each line with measured cadence, capturing the ache of recognition and the slow-burn clarity that comes from realising you’ve been pulled into someone else’s constructed reality. Her voice, shaped by years of singing through soul, funk, blues and rock, holds nothing back in its precision.

Thematically, Breaking Me Down resonates as a cautionary tale written for anyone who’s felt reality rewritten by someone more concerned with control than connection. Gustafsson’s lifelong grounding in jazz, blues, and punk bleeds into the track’s rhythmic structure—firm, unrelenting, and laced with menace. Together, they reconstruct the power balance that emotional manipulation seeks to dismantle.

ZKIN’s strength lies in their refusal to simplify or soften. Every element of Breaking Me Down is sharpened to expose what it means to reclaim your voice after it’s been strategically unravelled.

Breaking Me Down is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Noah Nordman Constructed an Indie Pop Rock ‘Paradise’ with His Latest Raw Revelation of a Release

Noah Nordman perceptibly shares melodic DNA with Sam Fender, but within his sound lies far more than sonic assimilation; he delivers stridence twined seamlessly with indie sensibility. His latest single, ‘Paradise’, is cultivatedly twee, presenting Nordman as an artist who wears both his heart and his digressions openly on his guitar strings and soaring vocal lines.

As the rhythm section steadily feeds the track’s pulse, all peaks and valleys emerge courtesy of Nordman’s elastic vocal range, contracting and extending to flood the track with endless nuance. This melodic confession bursts with blistering emotion, subverting the stereotypical tranquillity of summery indie-pop-rock into an intimate canvas that vibrantly colours Nordman’s vulnerability and candour.

Based in Indianapolis, Nordman made his initial impact through the 2022 release of his debut, two-part album, SHIPWRECKED!. Following live performances across breweries and distilleries, he transformed his ambition into reality by diving headfirst into home production. With ‘Paradise’—the first of multiple planned 2025 releases—his powerful, clean vocals align effortlessly with impactful lyricism that blends indie-pop immediacy with singer-songwriter introspection.

Nordman’s music invites listeners into a world where emotional sincerity bursts free from indie-pop convention. ‘Paradise’ confidently positions him as an artist unafraid to colour outside the lines, providing listeners with a melodic outpouring as authentic as it is unforgettable.

‘Paradise’ is now available to stream on all major platforms, including Soundcloud.

Review by Amelia Vandergast