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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.

The Gillies Shattered Stirred Scarred Souls with Americana Folk Reverence in ‘It Hit Me Like a Bullet’

Posted on 29 April 2025
It Hit Me Like A Bullet by The Gillies

There’s no escaping the arcane aura of It Hit Me Like a Bullet, the latest release from the award-winning contemporary Americana folk duo, The Gillies. Through shimmering organ tones that swell around the arrangement and seraphically panoramic vocals, the single welcomes Americana Folk home on London’s streets. The Gillies – Susan Turner and Mark Evans – have long been revered for weaving steel-strung and tenor guitars into haunting odes to love, loss, and tangled relationships. True to their reputation for creating ‘music for your graveside’, they set raw emotions free without straying into needless theatrics.

It Hit Me Like a Bullet is salvation in sound, an invitation to tend psychological wounds no matter how raw. The imagery the cinematically intimate arrangement conjures transcends the more than a thousand words phenomenon, unchaining the soul, giving it permission to feel as free as the breezy melodies within the track.

If you know how it feels to find your feet after life broadsides you with perpetually unravelling perplexity, find your peace in the authentic euphony of It Hit Me Like a Bullet. The Gillies, whose previous works like ‘6am’ earned accolades such as Best Single in the GSMC Music Awards 2023 and selections for Fatea Magazine’s showcase sessions, continue to affirm why their understated melodies and timeless themes resonate on both local and international stages.

It Hit Me Like a Bullet is now available to stream on all major platforms, including Bandcamp. 

Review by Amelia Vandergast

HeadFirst Tore Through the Fabric of Modern Disillusionment with ‘Retrograde’

Posted on 29 April 2025

Retrograde, taken from HeadFirst’s LP, Modern Role Models, serves as definitive proof to anyone over 30 that emo was never a phase while welcoming a new generation of grungy pop punk to the sanctity of raw augmented sincerity. With rapid-fire Bloodhound Gang-adjacent vocals snarling through the distortion and melodic hooks that are sharp enough to carve through any former earworms and lacerate a place for this infectious anthem, there’s no denying that Retrograde makes a monumental impact.

If you can imagine how affecting the middle ground between Fidlar, Foo Fighters and Dinosaur Jr would be, you’d get an idea of how the pulse of this track is given the reins to your rhythmic pulses as the lyrics latch onto the tension tearing through your world and give you an outlet.

Formed by Siraj Husainy, Coby Conrad, and Bima Wirayudha, HeadFirst fuse raw post-grunge fervour with the melodic pull of pop punk. Hailing from Boston, the trio pours electric, visceral energy into every performance, whether lighting up dive bars or packed-out venues. Their music rides the tightrope between nostalgia and cutting modernity, crafted with relentless rhythms, emotionally charged lyrics, and hooks designed to leave a lasting scar.

With Retrograde, HeadFirst have solidified their status as a powerhouse for anyone who craves loud, honest expression in a disillusioned world.

Retrograde is now available to stream on all major platforms, including Spotify. 

Review by Amelia Vandergast

Mario Deschenes as OneSelf Set Soul Spinning Through 60s Psych Rock Kaleidoscopes in ‘Unicitude’

Posted on 28 April 2025
Versions 'N' Not 8 by OneSelf Featuring Mario Deschenes

OneSelf’s latest seminal release, Unicitude, which translates to ‘Unique Link’, swings rock back into the 60s as so much more than a sonic pitstop; it’s a reincarnation of the shaking, rattling, rolling kaleidoscopes of soul that sparked a movement still reverberating with momentum 60 years later. With a garagey rock production giving the track a raucous bite and psychedelic carousels of colours contouring through the harmonised melodies, it’s impossible not to get in the groove with Unicitude. The vocal presence is a dualistic dream; there’s no tearing the rock renegade energy from the lyrics, regardless of the sticky-sweet proclivities that envelop the performance.

OneSelf created Unicitude as a force that reconnects the soulful rawness of yesteryear with the imagination of the present, setting a new standard for how rock and soul can collide and reawaken.

Mario Deschenes, the mastermind behind OneSelf, is a multidisciplinary artist who has spent over four decades weaving his authentic and original creativity across music, painting, and videography. With seven albums released under his name and another set for release in September 2025, Mario’s music is an extension of his visual art, infused with the same vibrant essence. His catalogue spans over 91 songs and 42 videos, a testament to his enduring commitment to artistic expression through every medium he touches.

Unicitude is now available to stream on all major platforms, including Bandcamp. 

Review by Amelia Vandergast

Interview: How Kacey Fifield Mapped Constellations of Heartache and Hope in Her EP, ‘Seeing Stars’

Posted on 27 April 2025

Kacey Fifield has never been one to shy away from emotional authenticity. With her latest EP, Seeing Stars, she threads the constellations of heartbreak, healing, and newfound connections with striking clarity. In our interview, Kacey opens up about the spontaneous yet deliberate creative process behind the EP, the emotional tightrope of personal songwriting, and the nostalgic, cinematic weight that closes the collection. She also speaks candidly about her growth as an artist from her teenage years to her college life, and what fans can expect when she brings the project to life on stage. If you’re ready to step into a world where vulnerability meets synth-driven indie pop, this conversation with Kacey is one you won’t want to miss.

Welcome to A&R Factory, Kacey – it’s great to have you with us and congratulations on Seeing Stars landing so powerfully. Seeing Stars captures the emotional weight of love and loss with striking clarity. When you were writing these songs, did you already have a full narrative arc in mind, or did the storyline come together more organically through the writing process?

It was a spontaneous songwriting process, and the storyline became clearer with each song I wrote. “Seeing Stars” tells a story: from the pop-rock opener, “HOLD UR PEACE,” which brutally slams an “addict” to “no commitment” for their mixed signals against guitar shredding and energetic drum fills, to the vulnerable ballad “Right Past Me” which describes a sense of regret over one’s own mistakes in a relationship, all the way to the upbeat, synth-filled “In Between” which depicts the excitement and nerves of connecting with someone new.  “secrets” closes out the EP by emphasizing how past relationships continue to impact us as we “cling” onto the memories shared with that person.

Each track offers a distinct atmosphere while keeping the emotional tone cohesive. How did working with multiple producers across different cities influence the sound and cohesion of the final EP?

Working with multiple producers was fun and kept things interesting.  Since I wrote all the songs (with a few co-writers), it was relatively easy to keep the emotional tone cohesive. My EP blends the soundscapes of indie pop, synth pop, and classic rock to create a dreamy world focused on the intricacies of falling in and out of love, showcasing the various ways in which we metaphorically “see stars”.

“secrets” wraps the project on a nostalgic and almost cinematic note. Why did you choose this track as the closer, and what made it feel like the right place to leave listeners?

The anthemic melody, nostalgic background vocals, and synth solos in “secrets” create a soundscape that resembles the end of a coming-of-age film and spotlights the lyrics as they describe the process of finding closure and being at peace with the fact that former heartbreaks stick with us over time.  I thought that it was a great closing song that would leave listeners emotionally engaged.

You’ve spoken about the escapism of stargazing and quiet reflection. Do those moments still play a big role in how you process relationships, or has writing music replaced that outlet in some ways?

I have always enjoyed quiet moments of reflection.  Stargazing, songwriting, playing my guitar or simply walking in the park are all needed outlets in the way I process my thoughts and feelings.

There’s a fine balance in your lyrics between introspection and relatability. Do you ever find it difficult to write something personal while still thinking about how it might resonate with someone else?

I always write personal lyrics and don’t overthink it much in terms of will the song be relatable to others.  I find a lot of comfort in the fact that, if I am going through a certain emotion or experience, there are probably other people going through the exact same thing.  We are never alone in our feelings or thoughts.

Seeing Stars feels incredibly polished but still emotionally raw. Were there any songs that challenged you more than others to finish, either emotionally or creatively?

Yes, definitely!  I feel like I have grown as an artist and this EP reflects that more than anything.  The songwriting process was challenging, but so was selecting which songs made the cut. I wouldn’t say there was one particular song that sticks out as especially challenging, but the overall process of shaping my music into a cohesive story for the EP definitely took time.

From Between The Lines to Nostalgia Hunts Me, your discography shows a clear progression. What creative or emotional risks did you take with this EP that you hadn’t in previous projects?

When I wrote my album, I was still a teenager trying to find my way in the music world.  Through trying different styles, I found the voice and sound I liked. Both “Nostalgia Hunts Me” and  “Seeing Stars” reflect me at a given moment in time as a person and an artist.  The progression is me growing up from a senior in high school to a sophomore in college who is documenting life and growing pains.  Growing and developing as an artist and writing the music that I want to listen to is key.

You’ve hinted at wanting to bring these tracks to life on stage. What kind of energy or environment do you imagine for a live show built around Seeing Stars, and how do you hope audiences connect with it in person?

Playing my music live is my absolute favorite thing ever! Seeing Stars is definitely a project that requires a ton of energy so there will be loads of dancing, jumping, and audience engagement. I can’t wait to play the songs live!

Find your preferred way to stream the Seeing Stars EP via Kacey Fifield’s official website.

Interview by Amelia Vandergast

Photo credit: Maiya Buck Photography

Zach Hodges Bottled an Atomic Glitch in Jazz Fusion Form in ‘Nuclear Muskrat’

Posted on 26 April 2025

Zach Hodges let chaos reign in Nuclear Muskrat and conducted it with a conductor’s cultivated touch and a mad scientist’s curiosity. The 19-year-old Midlands-based musician, composer, producer, and multi-instrumentalist may be early in his career, but through his LP, Baby Landmark, he’s already proven that genre loyalty is a concept best left in the past.

Hodges, known for his work as a theatre musical director for String Cheese Theatre, his position behind the kit in Midlands jazz trio Head to Head, and his international touring experience, funnelled every inch of his multidisciplinary pedigree into this 7-minute experimental tour de force. Nuclear Muskrat isn’t content to sit still—within its frenetic framework, it flexes polka funk motifs, indietronica laced with avant-garde effects, funked-up disco grooves, blues-drenched riffs, erratic polyphonic keys, and incendiary synth bursts.

While it could have been easy for this to feel like a pure act of self-indulgence, it’s easy to go along with the ride with Hodges as he demonstrates the malleability of sound in a way so seamless it is as though all of the textures, tones and tempos have always been complementary pairings. It’s as though the contemporary history of music has been condensed in the explorative mind-melter that continually pulls the rug and lays down a different one before the last footstep can land.

If you’re always on the hunt for music that challenges mediocrity, Nuclear Muskrat is the ultimate contender.

Nuclear Muskrat is now available to stream on all major platforms, including Spotify. 

Review by Amelia Vandergast.

Cinema Painted Dusk with Unconditional Indie Folk Pop Affection in ‘When the Sun Goes Down’

Posted on 26 April 2025

With a title that frames the dimming light as more than a shift in the sky, ‘When the Sun Goes Down’ by London-based indie pop artist Cinema sinks into dusk with the kind of melancholia that only surfaces when you’re caught between the tendrils of longing. Through emotive vocal inflections, Cinema transforms a quiescent lo-fi folk-adjacent soundscape into an affecting invitation to feel the claws of compassion as you listen to the diehard romantic candour.

There’s no sleight of hand behind the heart-stirring honesty—just the kind of stripped-back introspection that sharpens with every whispered syllable and picks its battles with silence. With the same evocative intimacy as Cultdreams tied in with more mainstream indie folk pop appeal, Cinema has scored the ultimate formula to break out of the mainstream. The production refuses to rush, giving space to each aching note to stretch and settle under your skin, proving that emotional weight doesn’t need orchestral theatrics to be devastatingly impactful.

In the same way Frightened Rabbit disarms you with the artful agony, Cinema, with When the Sun Goes Down, takes the sum of its parts and calculates it into a profoundly moving sensory experience. If you needed any proof that there’s beauty in vulnerability, it’s in black and white in the kaleidoscope of unflinching confession of unconditional love which veers away from cliché, hitting all the right chords to attest to the striking sincerity with which it was composed and performed.

When the Sun Goes Down is now available to stream on all major platforms, including SoundCloud.

Review by Amelia Vandergast.

Emilie Thorsby Poured Pop-Rock Fuel in the Fire of Empowerment with ‘Amazing as Hell’

Posted on 25 April 2025

For anyone familiar with the pressure of contorting into a distortion until all that remains visible is a hollow façade, only to find acceptance still painfully elusive, Emilie Thorsby’s single ‘Amazing as Hell’ is your alt-pop rebellion wrapped in compassion. The track delivers a powerful cascade of empathy, injecting fuel into weary hearts desperate for empowerment.

With theatrical flair, Thorsby effortlessly navigates a myriad of styles—synth-pop hooks dissolve fluidly into baroque pop motifs before surging into bold, Prince-esque rock riffs. Each stylistic shift visually manifests the many masks we don to gain approval from the shifting gaze of those around us. Yet at the centre remains Thorsby’s unapologetically striking vocals, soaring confidently over an infectious nostalgia-inducing production, reminiscent of pop’s golden decades, the 80s and 90s.

Drawing deeply from her personal narrative of resilience, Thorsby confronts past betrayals and abuses—relationships that diminished her worth, leaving emotional scars she transforms into powerful affirmations. Her anthem insists fiercely that inadequacy lies not within ourselves but in the eyes of those incapable of truly seeing us. ‘Amazing as Hell’ holds a mirror to our self-doubt, boldly declaring it baseless and invalid.

Thorsby’s single is a declaration of independence from societal expectations, confidently crafted and passionately performed.

‘Amazing as Hell’ is now available to stream on all major platforms, including SoundCloud.

Review by Amelia Vandergast

Susan G became the epitome of Seattle soul with ‘Don’t Look Like You’

Posted on 25 April 2025
Susan G

With her old soul and fresh presence stretching far beyond Seattle, Susan G has the kind of vocal firepower and lyrical acuity that instantly turns passive listening into emotional reckoning. Her latest 60s soul-esque single, Don’t Look Like You, is the perfect primer for her deep-cutting emotive style. The smoky, smooth, and fever-swaddled staccato rhythms refuse to let comfort slip into the mix. Your rhythmic pulses will stand to full attention as the raw honesty of her lyricism sinks in.

The reprise of “I don’t know what love is if it looks like you” sears the psyche. It’s a line built to hit anyone who’s ever clawed their way out of a relationship that made them question not only their worth but the very definition of love. Instead of falling into the performative pitfalls of empowerment anthems, Susan G offers something more vital—an exorcism of confusion and coldness, giving a voice to anyone who’s been left picking up the pieces of their gaslit mind.

Susan George—performing under her moniker Susan G—may run a cutting-edge marketing agency by day, but in the studio, she’s a soul-revivalist with a modern R&B twist, weaving poetic truth through every note. Her sound reverberates for the truth-seekers and deep feelers who need something heavier than radio-ready gloss.

Don’t Look Like You is now available to stream on all major platforms. Find your preferred way to listen on the artist’s website.

Review by Amelia Vandergast.

The Glorious Years’ ‘The Darkest Universe’: A Psychedelic Prism Illuminating Post-Punk Nihilism

Posted on 25 April 2025
The Glorious Years

With their debut single, ‘The Darkest Universe‘, The Glorious Years opens a portal to a sonic galaxy where psych, krautrock, new wave, and post-punk coalesce into an aurally rich twilight. Co-produced by the band alongside Euan Hinshelwood (Cate le Bon, Half Japanese), this introduction marks the first glimpse into their upcoming album, ‘Something Beautiful Beyond’.

From the chorally opulent vocals that refract gently through the synth lines, to the subtle yet unwavering melodic pull from the guitars, each note maintains a meticulous tension. The single unravels as an exploration of tonal and textural contrasts—a kaleidoscopic prism of colour chillingly distorted by angular post-punk echoes and distinct influences from 70s and 80s sonic epochs.

There is an irreplicable comfort in the way guitars guide listeners through The Glorious Years’ alchemically orchestrated cosmos while the vocals adjust the listener’s perspective between shadows and illumination. Amidst its layers of nihilism and existential introspection, ‘The Darkest Universe’ acts as an open invitation to briefly abandon reality’s monotony for something more expansive, surreal, and profoundly human.

The Glorious Years set their creative compass towards something uniquely consoling yet philosophically provocative, solidifying their potential as a band adept in traversing the deeper spaces of alternative music.

‘The Darkest Universe’ is now available to stream on all major platforms via this link.

Review by Amelia Vandergast

The Disenchanted Divinity of Feeling Ill-Fitted: Useless Wonder! by The Mercury Sounds

Posted on 24 April 2025

If the sanctuary within the tonality of Useless Wonder! is anything to go by, The Mercury Sounds have become masters of carving relics of nostalgic experimentation that border on divine intervention.

The Baltimore-based duo, Jason Stauffer and Josh Krechmer, have been long-hauling their sonic telepathy since primary school. Two decades later, they’re still refusing to colour within the lines. Their fusion of indie-pop vitality and folk-rock introspection culminates in Useless Wonder!, a cosmic lament steeped in lo-fi 70s alchemy. Through natural vocal proclivity and delicate lyrical agony, they sculpted an aching confessional that stings with the sentiment of not being built for a world that keeps shifting beneath your feet.

The way the vocals bleed with weary existentialism against the gauzy swell of warm distortion and glimmering, melancholic strings carries the same weight as a memory you can’t outgrow. The verses tether you to vulnerability, while the chorus throws you into an orbit of quiet resignation.

Even though it would be impossible to crown a Leonard Cohen, Joni Mitchell or Bob Dylan in our modern and fractured industry, it’s clear that if Useless Wonder! had surfaced fifty years ago, it would be playing through grainy AM radios as a national folk treasure.

The Mercury Sounds exhaled a truth for the quiet disenfranchised who’ve long since given up pretending they fit the mould, if you can align to that particular branch of melancholy, hit play.

Useless Wonder! is now available to stream on all major platforms, including SoundCloud.

Review by Amelia Vandergast