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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.

Get moving with Johnjames Bruce’s acoustic post-punk hit, Dance

After cutting his teeth as a bass player in the punk outfit The Irrelevants, the Lancashire-hailing rhythm-maker, Johnjames Bruce, found his voice as a solo acoustic artist and started to release his own indie-folk punk music in 2018.

His latest single, Dance, carries the raucous and cutting spirit of post-punk; heavy distortion was surplus to requirement with the swagger of the acoustic guitars, the snarl in the vocals and the snappy percussive backbeat.

If you’re a fan of Pleasure Heads, Youth Sector, and The Walkmen and like your punk hits raw, intimate and uniquely authentic, Johnjames Bruce’s discography will be your new favourite discovery.

Dance was officially released on September 29; stream it on Spotify.

Review by Amelia Vandergast

Culture Bloom harmonised to the nines in their spectrally raw acoustic indie & alt-rock synthesis, Nightmare

‘Nightmare’ is the first synthesis of acoustic indie and alt-rock to spill from the debut EP, Aren’t You Proud?, from Denver Colorado’s most nostalgically euphonic drop-dead stunning duo, Culture Bloom.

If Placebo penned bitter-sweet symphonies in the same vein as The Verve and mainlined a little Death Cab for Cutie into that vein, the alt-90s melodiousness would hit with exactly the same force of impact as Nightmare.

The emotional weight carried within the harrowed and haunted layers of vocal harmonies as they collide with the stabbing guitar lines resonates as infinitely more than the sum of all parts, allowing Nightmare to stand as a testament to the song-crafting capacities of the duo that should be on every alt indie fan’s radar.

Stream Nightmare on Spotify and stay tuned for the EP release on October 20th.

Review by Amelia Vandergast

Lost Foxes opened the mundanity trap in their installation of indie pop nostalgia, Petrichor

Lost Foxes elevated South Carolina’s indie scene with their poetically plaintive latest single, Petrichor. Hearing it, you’d be forgiven for thinking the past two decades have been erased by the echoes of the early 00s in the melodies that haven’t lost their ability to wrap a noose-like grip around the rhythmic pulses and pluck the heartstrings in time with the angular guitar notes.

The intimate lo-fi touches to the chamber string-accentuated release make it effortless to lock into the resonance that is strewn across the verses which reminisces on darkly mundane days as the instrumental effervescence lets the sun shine through the salvation of escapism.

The four-piece has come an illustriously long way since their early days of playing with loops on Logic Pro and singing about beans in 2020. Following the inspiration of Twenty One Pilots, AJR and COIN, they got to work on their debut album, Welcome to Kiff, which debuted in 2022 to tell the tale of three protagonists escaping totalitarianism. Petrichor is the latest chapter in the outfit’s legacy, and it is one you’re going to want to read time and time again.

Petrichor was officially released on September 29: Stream it on Spotify.

Review by Amelia Vandergast

Mosa melodically sculpted the twilight in his latest electronic score, The Night Sets In

Mosa

Lose yourself in the dusky twilight of the latest electronic folk serenade by the Oxford-based sound designer Mosa. His scintillating single, The Night Sets In, is a plaintively compelling composition that could be easily compared to the artfulness of Radiohead, Mogwai, and Low; although those comparisons can allude to the diaphanously sonorous atmosphere of his sound, they don’t do Mosa’s intrinsic authenticity much justice.

His unique ability to infuse the dusty soul of blues into his sound design around the neo-classic keys and ethereal motifs establishes him as one of the most authentic artists around in 2023. We were hooked after hearing his single, Helicopter, earlier this year, after hearing The Night Sets In, which could easily rival the beguiling gravitas of any of the releases on the Westworld soundtrack, we are even more assured that Mosa is one to watch.

The Night Sets In will be officially released on October 7th. Hear it on all major platforms via this link.

Review by Amelia Vandergast

Lemonade Sin tore away fakery with their 1970s glam atom bomb of nostalgia, Glad Game

Glad Game by Lemonade Sin

The UK indie-pop duo Lemonade Sin dropped a nostalgic 1970s glam atom bomb with their latest single, Glad Game. With jangled guitars and retro synth lines that are equally as sticky-sweet in their exuberantly euphonic energy, the duo, comprising Lee Friese Greene and Simon Aldous, surpassed their influences to orchestrate an infectiously enlivening feat of pure ingenuity which echoes the inexorable legacies of Belle and Sebastian, Pulp and Stereolab.

The layering of the harmonically honed boy/girl vocals draws you right into the centre of the protest on the people standing at the vanguard of the toxic positivity movement, who repress real emotions with fake plastic smile facades and shame those who are authentic in their candour.

The single was recorded and mixed at Penquit Mill Studio with Lucy and Matt Board (Pale Blue Eyes), who also contributed the keys to the release, which also features Jennifer Denitto on drums and Charlotte Beale on bass.

Glad Game was officially released on September 22; it is now available to stream and purchase on Bandcamp.

Review by Amelia Vandergast

Revel in the petrichor of Shaun Cruda’s electro-soul synthesis, Ashville Rain

Shaun Cruda’s 20k monthly Spotify listeners got a brand-new stylistic soundscape to savour when the LA producer delivered his latest sensuously cathartic single, Ashville Rain, on September 22.

As the dark days creep in, the sanctuary of ethereal luxe atmosphere in Ashville Rain will only become more inviting. By borrowing a few trip-hop elements from the pioneers and modernising them in his synthesis of electro-soul, there are few better singles to revel in the petrichor with.

The instrumentals resound beyond their minimalist quiescence to deliver the ultimate playlist staple for nocturnal introspection while the vocals breed a beguiling sense of intimacy as they harmonise the lyricism that narrates a spectral love letter. Familiar, yet far beyond the bars set by his contemporaries, the single is a testament to the multi-faceted talents of the artist who can pen a track as well as he can polish it and move a dancefloor from behind a DJ booth.

Stream Ashville Rain on Spotify now.

Review by Amelia Vandergast

heyiloveyou penned a monochromatically dark love letter to the trip-hop pioneers with ‘Never massivehead)’.

By imagining the atmosphere that trip-hop pioneers would create if they rose from the underground today, the Croatian solo artist, heyiloveyou, who has been demonstrating their imperviousness to genre and style constraints since 2020, unleashed their monochromatically dark single, Never (massivehead).

The quite genius titular portmanteau of Portishead and Massive Attack is far from where the ingenuity ends with this torridly electrifying release, which melds dark and caustic iconography with the stylistic catharsis to drench the airwaves in cinematically luxe gravitas.

In spite of the amalgam of the past and present day, the duality easily gave way to the synergy that floods the track through the guitars, drums, synths and beats. Get drenched by heading over to Spotify.

 

Review by Amelia Vandergast

Rossa Murray & the blowin’ winds will warmly render your heartstrings raw with ‘Who Really Wants to Get Clean’

Rossa Murray & the blowin' winds

The hype around the Irish alt-folk/rock outfit, Rossa Murray & the blowin’ winds, may be louder than the melancholic quiescence in the title single from their latest EP, but the accolades are far from hyperbolic.

Who Really Wants to Get Clean is a cutting- with razor-sharp precision – exposition on society’s issues around addiction; so much pressure is put upon the people numbing themselves by any means necessary to change, while the societal issues that make it a necessity for so many get ambivalently swept under the rug.

I can’t even remember the last time a track hit me this hard. The evocative delivery, the desperation in the vignette, the agony that lingers in the tempo of the minor keys, the profoundness in the strings, it all synthesises into a tear-jerking performance that leaves you in a sombre state of contemplation.

Fans of Bill Ryder-Jones and Frightened Rabbit won’t be able to tear themselves away from the Rossa Murray & the blowin’ winds’ discography after Who Really Wants to Get Clean has warmly rendered their hearts raw.

The Who Really Wants to Get Clean – Part 2 EP will officially release on September 29th. Stream it on all major platforms via this link.

Review by Amelia Vandergast

Oliver James Brooks synthesised contemporary sickness with the fever of the 70s in ‘Technologically Stoned.

https://bit.ly/OJB-TechnologicallyStoned-Video

To hold a mirror to the dystopic sickness of the day, the critically acclaimed Toronto singer-songwriter, Oliver James Brooks, lyrically narrated our iPhone co-dependency issues in stark contrast to the 70s fever of psych-folk timbres with his alt-folk-rock single, Technologically Stoned.

Illuminating the reality of the evolution of technology which is spurring the regression of society while orchestrating a lava lamp warm soundscape that consoles through the dusky hues couldn’t have been an easy feat; the resolving raconteur succeeded nonetheless.

The accompanying music video, shot on super 8mm film along the Humber River Valley, also acts as a compelling visual exposition of how the chokehold of our phones is blinding us to the natural beauty that is everywhere we turn. If any single is going to convince you to get your dopamine fix in a more organic way, it is Technologically Stoned; the organic and raw production leads by efficacious example.

Technologically Stoned was officially released on September 22; it will also feature in the artist’s third studio LP, A Little Long While, which will be available to stream on all major platforms from November 24.

Watch the official music video for Technologically Stone on YouTube now.

Review by Amelia Vandergast

Joel Porter made a plea for providence in his alt-folk masterpiece, Godsend

The North Dakota alt-folk artist, composer and producer Joel Porter’s fascination with the human psyche knows even fewer bounds than the experimentalism in his harmonic landscapes.

Art brings meaning to life; in Porter’s work, which includes his recently released single, Godsend, life also brings meaning to art as the quiescent neo-classic melodies complement confessional emotional exploration. With his signature sense of intimate longing, Godsend is yet another testament to his talent and introspective eloquence. With a sound so sweet it stings, the melancholic cries for providence in Godsend are so profound they resonantly overwhelm the senses.

Combined with the aesthetic desolation in the black-and-white music video which visualises the monochromatic hues of a forsaken soul, Godsend is yet another masterpiece in Joel Porter’s repertoire.

Over the course of his career, he’s worked with renowned artists, showcased his music on a national level, accumulated over 7.5 million streams, and secured sync placements with the television series The 100 and in the Grey Skies: A War of the Worlds Story video game.

Something tells us the best is yet to come for Porter and his ability to construct bridges between the pensiveness of Elliott Smith and the intricate ambience of Nils Frahm.

The official music video for Godsend will premiere on September 28; watch it on YouTube.

For more info, visit Joel Porter’s official website.

Review by Amelia Vandergast