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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.

Drench Yourself in the Decadence of PeachMotif’s Latest Dream Pop Hit, Don’t Break Your Neck

Posted on 29 April 2024

PeachMotif’s latest single Don’t Break Your Neck sets a high bar for emotional and sonic depth. The Atlanta-based dream pop duo, comprised of Steffi Jo and Corbin Hoats, channelled their rich backgrounds in performance and production into a track that radiates a Yin-Yang effect through the equilibrium of style and soul.

Don’t Break Your Neck is underpinned by glassy synths that glisten with a brightness akin to Warpaint’s coolest moments. The crystalline vocal lines shimmer, weaving through the production with a mesmeric luminosity. Each note is carefully curated, ensuring that the instrumentation not only constructs and deconstructs the musical landscape but also toys with the listener’s emotions—balancing them delicately on a tightrope.

The fusion of solid, syncopated backbeats with cascading drops radiates hypnotic warmth, drawing the listener deeper into PeachMotif’s arcane atmospheric creation. As the track melodically and emotionally progresses, it illustrates PeachMotif’s ability to blend commercial potential with profound narrative depth.

Steffi and Corbin’s chemistry is palpable, reflecting their shared history and deep understanding of each other’s artistic strengths. Originating from their collaborative efforts during a local theatre production, their partnership thrives on a mutual passion for authenticity and emotional resonance in their music.

Don’t Break Your Neck was officially released on April 12th; stream the single on Spotify.

Review by Amelia Vandergast

Return to the alt-90s with Trailerfuss’ debut single O Rei da Solidão

Posted on 29 April 2024

Trailerfuss’ debut single, O Rei da Solidão, from their EP Roteiro Sem Final, revisits the 90s grunge era via a route never before taken.

By fusing the sludgy rhythmics of Dinosaur Jr and the fierce soul of Hole, Trailerfuss created a solid foundation to lay their innovative approach to evoking alt-90s nostalgia on. They didn’t stop at emanating two influential artists; you’ll hear everyone from Bob Dylan in the opening harmonica blows, Grandaddy in the lo-fi intimacy, the Beachboys in the surfy layered vocal harmonies, and nuances of Pavement and Pixies synthesised between.

The debut single is a visceral statement from the Rio de Janeiro-based band that is strong enough to carry their fans back to the rose-tinted sanctity of the alt-90s while also delivering potent punches of their own authenticity.

Stream O Rei da Solidão on Spotify.

Review by Amelia Vandergast

Move Over Amanda Palmer, Naomi Castellano is the New Girl Anachronism in Her Debut, Hide and Seek

Posted on 27 April 2024

Naomi Castellano’s debut single ‘Hide and Seek‘ reveals an artist who has been seemingly playing hide and seek with her own vast talents. Her debut resonates with the essence of Tom Waits, Stevie Nicks, Kate Bush, The Last Dinner Party, and Mitski, showcasing a high-fidelity cultivation of these influences that will leave listeners in awe. Castellano’s music, entrenched in a genre-fluid nostalgic reverence, promises to captivate this generation’s penchant for artful expressionism.

Her quirky anachronistic tendencies lend ‘Hide and Seek’ a timeless depth, where nothing feels antiquated—from the smoky jazz grooves that billow between the robust pillars of chamber pop swells, to her Joni Mitchell-esque vocal range comfortably sitting in the alto, and not to forget the baroque flourishes that tint her artistic sensibilities.

With a background in classical music and a love for jazz, indie, alternative, and folk-pop, Castellano’s songwriting echoes the influences of Ani DiFranco, Fiona Apple, Norah Jones, and Sia. Utilising strings and keys, she created hypnotic transportation into a daydream, making ‘Hide and Seek’ not just a song, but a sublime sonic journey.

Naomi Castellano is undeniably holding the future of alternative music in her deft hands, and with such a compelling start, it’s clear she has exactly what it takes to stand at the vanguard of a new era of musical innovation.

Hide and Seek was officially released on April 17th, stream the single on Spotify.

Review by Amelia Vandergast

Rich Freed – Peace of Mind: An Indie Pop Rock Liberation from Introspective Oblivion

Posted on 26 April 2024

Rich Freed’s latest single Peace of Mind is a compelling narrative of internal conflict, wrapped in the nostalgic warmth of 90s Britpop influences. His style, in this track, reminiscent of icons like Oasis and the Stone Roses, injects a potent mix of indie pop-rock and a bluesy undertone into the bustling modern music scene.

The track pulses with an augmented, atmospheric production that escalates until it bursts into exhilaration in the stadium-ready choruses. The rhythm carries the confident swagger of Britpop while infusing it with a fresh, intoxicating energy that seems to speak directly to the soul. It’s more than just an earworm; it’s an electrifyingly vindicating sonic exploration of the human condition.

Lyrically, Freed offers lines that listeners will want to etch into their memories as he muses on the universality of self-doubt and introspection, making it relatable on a fundamentally human level. Every verse delivers a tattoo-worthy mantra, backed by an aura of bluesy rock n’ roll that transforms this high-octane anthem into a cathartic experience.

For anyone who’s ever felt at odds with themselves, Rich Freed’s “Peace of Mind” offers not just solace but a liberating, rhythmic release. It’s an anthem for the introspective, for those who seek peace in the chaos of their own thoughts.

Peace of Mind will be available to stream on all major platforms, including YouTube, from April 26th.

Review by Amelia Vandergast

Max Norton outshined the constellations in his latest expansive indie-rock release, Comet

Posted on 25 April 2024
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Max Norton catapulted onto the indie rock scene once again with his latest seminal single, ‘Comet’. The resounding echo of college radio days mingles the discordant charm of Sonic Youth with the raw punch of 60s garage rock. Each chorus hits with a barrage of anthemic hooks, delivering an impact so potent it feels like a blissful demise—there are far worse ways to go.

The triumph of ‘Comet’ lies not only in its sticky-sweet, charismatic vocals but also in its meticulous production. With minimalist touches that amplify rather than overshadow, the production allows Norton’s authentic talent to radiate. It’s as if he’s outshone every constellation, creating a vintage-toned earworm that rewards listeners with each serendipitous chord.

Behind the scenes, Max Norton’s rich experience as a multi-instrumentalist and his decade-long career as a professional drummer deeply inform this track. The euphoric tension built within the rhythmic framework of the release crescendos in choruses that are so compelling that they demand to be heard live.

Moreover, ‘Comet’ not only showcases Norton’s instrumental and vocal talents but also his unbridled romanticism and lyrical depth. This stellar slice of classic songwriting proves a masterful amalgam of his diverse influences, from Otis Redding to Courtney Barnett, making it an indispensable addition to any rock enthusiast’s playlist.

Check out the official video for Comet on YouTube.

Review by Amelia Vandergast

Mild Horses unleashed avant-garde chaos in his genre-defying electronica release, Eye of the Behemoth

Posted on 25 April 2024
Eye Of The Behemoth by Mild Horses

Mild Horses, the experimental brainchild of Matthew Leuw, previously known for his roles in various underground bands, including Norwich’s Crest and Brighton’s Coin-op, has returned with ‘Eye of the Behemoth’.

The single seizes the listener with its lo-fi synth melodies grounded on a solid backbeat, before erupting into a drum n bass rhythmic firestorm. Not merely content to rest here, it pushes the boundaries further with sharp horn stabs, marking a bold foray into avant-garde territory. As the track progresses, the intense energy momentarily retreats into more subdued, jazzy grooves that infuse the piece with psychedelic tranquillity, setting the stage for a climactic resurgence. The finale of this instrumental odyssey is a masterclass in musical composition—returning full circle with a powerful beat that perfectly encapsulates the track’s dynamic range.

‘Eye of the Behemoth’ is not just another experimental track; it is a statement of artistic integrity from Mild Horses. This single does exactly what it promises—immersing its audience in an artfully crafted storm of sound that resonates long after the last note fades. It’s an assertive piece that boldly declares Mild Horses’ niche in the eclectic landscape of contemporary music. For fans of genre-defying soundscapes, this release is an essential experience, offering both challenge and reward in its complex layers.

Stream and purchase Eye of the Behemoth ahead of its official release date of May 10th on Bandcamp.

Review by Amelia Vandergast

Boston’s Indie Pop Scene Lit Up After the Unveiling of Maya Salafia’s Latest Single, Swim

Posted on 24 April 2024

The Boston indie pop singer-songwriter, Maya Salafia, broke the two-year spell of silence with the songwriting alchemy caged within the melodies of her latest single, Swim. Instead of skimming over the most obvious emotional themes in a love song, the young prodigy delved deeper, dipping into the sense of duality we are forced to navigate when falling in love and trying to keep a firm grip on our autonomy.

The line, “I never knew existing could be so much work and I hate you ‘cos you like me and I can’t breathe without you taking it away”, in particular, shows that Maya Salafia knows just how to run with a metaphor into unexpected territory and leave you awestruck by a resonant epiphany in the process.

If Maya Salafia doesn’t follow in at least some of Taylor Swift’s footsteps, I suggest we start a riot. Coincidentally, it isn’t only the poetic lyricism that would be equally as at home on Swift’s latest LP which bares reminiscence to the undeniable member of the contemporary pop pantheon. The breezy guitar chord progressions and vocal lines also echo in the same vein as Swift’s earlier work when the guitars aren’t running through the angular indie jangle pop notes and hook-rife warmly overdriven chords. If you’re sick of tuning into throwaway pop hits, hit play and find your new playlist staple.

Swim was officially released on April 12th; stream the single on Spotify.

Review by Amelia Vandergast

The Vouchers struck a raw nerve with the melodic malaise in their alt-post-punk seminal release, Dead History

Posted on 24 April 2024
OYEZ! by The Vouchers

The Vouchers’ standout single, Dead History, from their debut album OYEZ! doesn’t break the post-punk mould; it is a sublime continuation of the disorder initiated by Joy Divison, infused with the melodic malaise of Dinosaur Jr.

Driven by the creative synergy of Mark Langston, Tom Brown, and Matt Clifton, the three-piece intertwines satirical observational poetry with a distinctive North East twang, resulting in unapologetically raw, eloquently monochromatic chemistry.

Dead History captures the essence of The Vouchers’ distinct approach; the track is a sonic labyrinth where angular hooks meet the cold tonalities of an ennui-laden atmosphere, and sparse lyrics become poignant bursts of clarity. The minimalist lyricism of Dead History might initially seem understated, but every word hangs in the air of the release that ticks all the right post-punk boxes.

If you’re looking for a new indie band to get behind, you’ll need to keep the pace as The Vouchers make their inevitably rapid ascent.

Stream and purchase Dead History on Bandcamp.

Review by Amelia Vandergast

The overdriven alchemy in Three Mile Island’s Ride Your Luck unleashes sonic spirits.

Posted on 23 April 2024

With elements of dreamy indie and classic rock n roll as the cornerstones of their sonic signature in their latest seminal single, Ride Your Luck, the West Midland’s prodigal sons of innovation, Three Mile Island, found plenty of room between the stylistic pillars of influence to inject their own over-driven, time-defying, alchemy.

The haunting chorus, which incidentally replicates what Black Sabbath’s single Changes does to the soul, fused with vocals that are as locked and loaded with visceral dynamite as Chris Cornell’s, Rolling Stones-reminiscent lead guitar work and an underpinning aura of Primal Scream’s iconic release, Give Out But Don’t Give Up, culminates in a single that doesn’t only allow you to imagine what is possible when the intersections of rock are explored, it grips you with a soulful intensity that leaves an inexplicable mark.

If this is the future of rock, the genre is about to make one hell of a mainstream comeback.

Stream Ride Your Luck on Spotify now.

Review by Amelia Vandergast

Simon Ewing serenaded through the eras in his acoustic indie folk triumph LULLABY

Posted on 23 April 2024

Simon Ewing’s latest single, LULLABY, artfully blends a spectrum of musical epochs with a mastery of guitar play that fans of folk and beyond will find irresistibly compelling. The track is a confluence of lo-fi charm and intricate guitar work that nods to The Maccabees’ Toothpaste Kisses while embedding a distinctly Americana vibe interlaced with blues’ soulful essence.

LULLABY won’t sing you to sleep; instead, it vibrates with life, signifying the Bristol-based troubadour’s knack for weaving narratives that affirm the sensibility of the soul. The song’s architectural simplicity in structure belies a complex, layered emotional resonance that hooks the listener from the first chord.

Ewing’s ability to synthesise swathes of genres into a seamless, flowing piece shows not just versatility but a deep reverence for the roots of each genre. Each note reflects a rhythmic exploration that feels both classic and innovative, making LULLABY a testament to Ewing’s ability to transcend traditional storytelling through music.

If Elliott Smith’s songs had veered away from melancholy towards this vein of succinct sweetness, they might have touched the same bright corners of the soul that Ewing reaches with this track.

Stream LULLABY on SoundCloud and YouTube.

Review by Amelia Vandergast