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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.

Douzey orchestrated a euphonic utopia in her quirky piano-pop hit, Hera’s Song

The up-and-coming Melbourne songstress Douzey wore her anachronistic originality on her sleeve when she penned her latest euphonically utopic single, Hera’s Song. If you thought Barbie was a feminist triumph, wait until you indulge your senses in this ode to the goddess of women.

With neo-classic tendencies that lend themselves to the ornate elegance of the release and contrast the power in Douzey’s Tori Amos-esque vocal lines and the rich-in-sonorous-resonance piano keys, the entire single is underpinned by beguile, class, and perhaps most importantly, authenticity.

The consoling proclivities of the melodies have a cradling effect when the piece of sonic poetry is in motion; as you contemplate bigger phenomena than yourself, you will find yourself solaced by the score that unravels as the epitome of empowering purity.

Hera’s Song will hit the airwaves on August 9th; stream it on Spotify and Bandcamp.

Review by Amelia Vandergast

London’s FOURA.M mainlined livewire energy into their alt-rock debut, Bombers

With a scuzzed-up and brashy guitar intro that will throw you right back to At the Drive-In’s moment of glory when their live performance of One-Armed Scissor on Conan became a global phenomenon, the intro to the debut track, Bombers, from FOURA.M, will capture your attention in an equally as visceral way.

Marketing themselves as ‘Dad Rock straight outta London’ scarcely does the frenetic fourpiece justice. Their influences reminisce with alt 90s and 00s tones, but nothing about Bombers feels remotely dated; the evocative pulls of the Foo Fighters-esque melodies and touches of Royal Blood in the production sealed FOURA.M a place amongst the other acts who are giving rock a fighting chance of surviving the Gen Z obsession with electronica.

If you see as much potential in FOURA.M as we do after bearing witness to their strong debut, keep your eyes peeled for their live tour dates around London.

Bombers hit the airwaves on July 28; stream it on Spotify.

Review by Amelia Vandergast

Lock horns with ‘The Devil’s Daughter’ in Doug Burton’s Latest Installation of Indie

Good Music by Doug Burton

With a touch of college radio rock in a R.E.M.-esque vein fused with the same sense of lyrical conviction you would find in a New Model Army release, the seminal single, The Devil’s Daughter, by Doug Burton is a quaintly visceral experience that couldn’t have been penned by any other hand.

The folky tendencies are inexplicably balanced by the rock reverence and the pop hooks, enabling the Williamsburg, Virginia-based solo artist and producer to establish himself as an originator in the contemporary music landscape. He’s been cutting his teeth since he first started playing in high school bands in ’85; it is safe to say that at this stage in the game, he more than knows his way around a sticky-sweet melody.

Stream and Purchase The Devil’s Daughter on Bandcamp, or order the Good Music LP while the limited-edition vinyl copies last.

Review by Amelia Vandergast

Put on Giancarlos Lopez’s latest cashmere smooth pop hit, Designer Clothes

If you want to slip into something comfortable, put on Giancarlos Lopez’s latest dreamy indie R&B pop hit, Designer Clothes. Far from an ode to capitalism, the cashmere smooth single is sweeter than honey for the way it undresses excess and celebrates the person beneath the wearable status symbols that become a façade.

The lo-fi bedroom pop feel to the release only serves to amplify the intimacy of the single that is dripping in romanticism instead of Gucci. If you don’t sonically fall head over heels for Giancarlos Lopez after hearing it, you may want to check your soul’s check engine light; his ability to create a hazy ethereal atmosphere with his vocal lines alone is second to none.

The independent Puerto Rico-born, Tampa-raised artist borrows plenty of inspiration from the Floridian culture before infusing it within soothingly nostalgic soundscapes that reminisce with the works of Mac Miller, Keshi, and Joji. If they are on your playlists, Designer Clothes should be too.

Designer Clothes hit the airwaves on the 28th of July; stream it on Spotify.

 

Review by Amelia Vandergast

Softmax connects through disjointed isolation in her Lynchian installation of electronica, Swishers

Softmax

Silence fell after the 2022 debut EP, But What If There Isn’t?, from the Chicago-native Softmax; in her time away from the airwaves, she honed her craft and primed herself for her latest single, Swishers.

Co-produced by Joel Ford, of How to Dress Well fame, and Berlin’s premier electronica producer, Gabriel Gifford, Swishers sets a dramatically Lynchian tone to create a dystopian synthpop backdrop for the portrayal of inwardly imploding isolation while everyone falsifies their lives online.

The sentiment is just as resonant as the score orchestrated to depict the agonisingly disjointing feelings. Clearly, Softmax has a talent for reflecting the rawest facets of the human experience back at us. The syncopated beats and oscillating synths paint a portrait of how it feels when black holes of alienation form as a fixture in the arrangement of your bedroom furniture.

In her own words: “It’s about wanting to connect with the world and understand people while feeling further and further from it,”

Swishers will hit the airwaves on August 9th as a courtesy of the London-based indie record label, Psychotic Reaction Music. Stream it on Spotify.

Review by Amelia Vandergast

Lynden. accentuated the sweetness in his bitter-sweet indie symphony, You

Jumping off raw emotion as a precipice, the Manchester-based Indie singer-songwriter, Lynden. delved deep when orchestrating and writing his love song, You.

His husky-with-melancholy vocal harmonies make his porously impassioned lyrical proclamations even sweeter to fall into as they ring as assuredly as the gentle acoustic guitar chords against the angular guitar fretwork.

The Cigarettes After Sex inspiration is easily legible within the euphonic atmosphere, but Lynden. stopped at wearing the inspiration on his sleeve instead of assimilating the whole outfit in his quintessentially authentic hit that you’ll need to prise from my playlists from my cold, dead hands.

With John Davis (Blur, Jamie T, The Kooks, Inhaler) in charge of mastering, there was little chance of You falling flat. I always keep my ear to the ground for fresh original acts in my home city; Lynden. was the first artist in a long time that made me prick them up.

You will be available to stream You on all major platforms, including SoundCloud, from August 9th.

Review by Amelia Vandergast

Subatlantic bled etherealism into indie post-punk with their latest single, Critic

Say It Again by Subatlantic

Illinois’ premier indie outfit, Subatlantic, is on scintillatingly atmospheric form in their single, Critic, taken from their hotly-anticipated LP, Say It Again.

With angular guitar lines that will reel you into the centre of their darkwave pop universe, vocal lines that could give Debbie Harry a run for her money and the coldly beguiling tones spilling from the reverb-heavy keys, if Dead Can Dance, they’d dance to Critic, which unravels as a revelation of ethereal ingenuity.

With Becca Rice at the helm of the fourpiece, which has been dropping the temperature on the airwaves since 2008, Subatlantic has established itself as a dynamic powerhouse to watch; with soundscapes to suit every conceivable mood, there is undoubtedly something for you lingering in their artfully textured discography.

Stream and download Critic via Bandcamp or snag yourself a limited-edition colour vinyl pressing of the LP, Say it Again.

Review by Amelia Vandergast

Andrew Ramey found the middle ground between ennui and euphoria in his indie trap pop single, just fine

With melodies that flow as mellifluously as Jack Johnson’s and Ray LaMontagne’s, the latest single, just fine, from the alt-pop songwriter Andrew Ramey, is a rhythmically arresting earworm that affirms its addictive propensities through the sticky-sweet trap-pop percussive fills and the assured ease of the effect-laden vocal harmonies.

Rather than add to the indie landfill of singles traversing visceral emotion, Ramey found the middle-ground between the extremes of euphoria and ennui to deliver a resonant and relatable hit that is an all too efficacious reminder that when you find moments of gratitude, even on the ordinary to the point of monotony days, you’ll realise that you’re just fine too.

The Birmingham, Alabama-hailing 100% DIY and independent artist and producer’s combination of melodic wordplay and hip-pop beats will undoubtedly see him go far in the industry. There’s no overstating how organically vibe-driven his playlist staple hits are. Find out for yourselves when just fine officially releases on August 8th; hear it on SoundCloud.

Review by Amelia Vandergast

Dorset’s Nick Capaldi composed a folky odyssey with his single, Sunnies and Guitars

Singer-songwriter, Nick Capaldi, gave his folky odyssey of a fourth LP, You and all the Seasons, one of the tenderest touches we’ve been melodically caressed with in a long time.

The standout single, Sunnies and Guitars, is a sun-soaked celebration of the simplest pleasures in life; the stringed and lensed objects of every man, woman and dog’s burning desire become an abstract lyrical theme as the sonics find themselves in the cosmic middle ground between The Flaming Lips and Neil Young.

With touches of twangy Americana entwined into the spacy layers of the blissfully nostalgic serenade, Nick Capaldi didn’t stop at scribing his signature sound into the single, he projected his interstellar air into an atmosphere that seems far too celestial to solely belong to Earth’s orbit.

Steam You and all the Seasons by heading over to Spotify. 

Review by Amelia Vandergast

Silverhours reached the pinnacle of art-rock innovation with ‘The Miser’

With the artfulness of Radiohead, the arcane beguile of Bjork, the atmospherics of Mogwai, and the elevated ornate grace of Sigur Ros, the standout single, The Miser, from the sonic exploration of an album, Madeleine Moment, by Silverhours is a sensually multi-sensory firestorm of gravitas.

By amalgamating jazz and electronica in an intimately lo-fi production space, The Miser is the epitome of uninhibited expression, orchestrated by an artist enthralled by the geometry of musical rhythms. In full, the LP tracks a story that scarcely leaves any of the visceral emotions by the wayside; they’re all materialised in the juxtapositions between melodies, harmonies and memories to capture the haunting echoes of the past.

After getting kudos from Nick Cave after winning his online covers competition, Silverhours started to pick up traction in their career, leading to the launch of this drenched with evocative ingenuity debut LP. If it’s good enough for Nick Cave, it is good enough for your playlists.

Stream Madeleine Moment in full by heading over to Spotify.

Review by Amelia Vandergast