To make sure that the listener’s heartstrings are well and truly tugged, alt-indie rock artist .Wav Rider’s latest acoustic single, Step Away, unravels as a heart-wrenching duet featuring vocals from Nikki Silva.
Step Away captures that fraught moment when the realisation that a situation is no longer healthy hits. Despite his sweet and affable indie pop-rock vocals, you feel every ounce of affectional agitation.
When Nikki Silva’s come into the choral and sun-bleached soundscape, the narrative becomes multifaceted, serving as a stark reminder that no matter how much time you spend with someone, or how well you know someone, there are some things that you will never see eye to eye on, mostly because you stop looking and want to turn away completely.
Any fans of Frank Turner, AJJ, Neck Deep and All Time Low won’t want to sleep on this release.
For her latest single, ‘Rise’, which has now been accompanied by a music video shot by Guillaume, up and coming singer-songwriter Srujanika teamed up with producer MILIAH to orchestrate an intricate, intimate feat of indie-pop that doesn’t just lyrically scratch at the surface. It cuts right down to the marrow.
Sometimes, all that is needed is the reminder that no matter how alone you feel on the darkest nights, you’re not alone in your dark transition periods before the light starts to breakthrough. The deeply spiritual release pulls in nuances of shoegaze and dream pop to give the single a sense of fragility; through Srujanika’s vocals, you’ll find comfort along with the inspiration to find the same resilient strength.
Even if you listened to the radio all day, you wouldn’t hear a more compassionate and consoling voice.
You can check out the official video to Rise that premiered on May 15th by heading over to YouTube.
Alt indie artist Danny Ritz has followed on from his debut EP with his latest artfully lo-fi single, Window. If you’re irresistible to the charms of bedroom pop, you’ll quickly succumb to the enamouring tones of psych-pop, synthpop and art-rock.
While most lyricists do their best to maintain a pretence of sanity in their songs, Danny Ritz threw his sanity by the wayside to channel organically manic, relatable emotions into Window. Any fans of John Grant, Spector and the Lathums will want to experience it for themselves.
With the macabrely inventive lyrical lines such as ‘you left my heart circumcised’, you can’t help but engage with the single. The intrigue is all too intense as you listen to Window unfold through the playfully polyphonic, unapologetically authentic progressions.
Resting Bones is the celestially transfixing latest single from US singer-songwriter Madeleine Bradford. At the age of 17-years-old, her music already boasts narratively-meta lyrics, arresting vocal harmonies and a spiritual edge that compels you to lean even deeper into the single to abstract the emotion and introspection. Even the silence that follows the outro is resounding.
If anyone has what it takes to become the next Phoebe Bridgers while establishing themselves with a distinctive style, it is Madeleine Bradford. The mellifluous guitars in Resting Bones possess the same level of alchemy that you will find in Elliot Smith’s most intricate releases as faint orchestral swells add striking crescendos to the deeply provoking single.
Resting Bones is now available to stream via Spotify.
Dreamy, ephemeral indie-pop with little dashes of post-post-punk – that’s the initial impression from first-listen of Melbourne-based Naked Face’s new single ‘Coming Home’, but on subsequent plays it’s clear the Australian three-piece have a lot more tricks up their collective sleeves and significantly more musical depth and character than that early, overly-simple description gives them credit for.
There’s elements of chilled Caribbean and even reggae to the chord work and arrangement of the verses, contrasting nicely with the bigger, chuggier power-chord overdrive of the choruses on ‘Coming Home’, singer Eddy Seagoon’s unique vocal delivery and delicately-picked guitar lines adding superbly to the tight groove of the rhythm section of Steve Slik and Nathan Stone, mashing-up a mixture of pop, punk, funk, jazzy chord voicings, and musical elements of The Police, the Young Knives, and Bloc Party amongst the audio influences here. It’s catchy and melodic, mixing in lyrical themes of isolation, social alienation, and distance whilst at the same time fusing a tight, focussed delivery and pumping out something that’s ultimately poppy, catchy, and delectable.
Opening up with some gentle picked electric guitar before the vocal and full-on musical arrangement kicks in, ‘Too Much’ is a perfect pop song, a mix of modern dance-able R&B with some older indie-rock stylings and a clever little set of pop sensibilities.
Recognisable from Comedy Central’s ‘Bad Cramps’ (which she writes and stars in), ‘Too Much’ is the follow-up to Jackson’s 2016 debut EP which included the BBC Introducing ‘track of the day’ ‘We Ain’t Got Love’. ‘Too Much’ is an honest, truthful first-person narrative on the problems of mental health, social pressure, and body image, an empathetic and open storytelling vibe in the style of Lily Allen or Anne-Marie, with maybe a little of the bounce and groove of Fergie thrown in for good measure. It’s fresh, vulnerable, and uplifting all at once.
With their stunning vocals delivered with a classy appeal that opens up those sleepy eyes widely, The First Impression dream vividly of the future on the heart-stopping ‘Wishing Moments‘.
Tremendous Las Vegas, Nevada indie-pop act The FirstImpression, fluidly assemble that uplifting type of sensual music that grabs at your beating heart and pulls you closer to see more, their wondrous vocals have an exhilarating effect on you that is unexpected and hugely satisfying on your hungry palate.
Their vocals form as one on a sumptuous beat, you feel like you are flying happily in the moon-lit sky and looking into the striking eyes of a caring lover who you wish could stay next to you forever, your eyes are interlocked and you feel like you are stuck in time, floating in a happy state of ultimate bliss.
‘Wishing Moments‘ from the underrated Las Vegas, Nevada group The First Impression, certainly delivers on the aesthetic quality and you feel like you have heard a special song, that won’t easily be forgotten. They sing with such freedom and love as it propels you through all doubts up into the skies above, with that special one close by you, to help you through it all.
First impressions certainly matter and this is a track that gives you hope throughout all the current suffering. It feels like after a long hiatus, this is a sleeping lion that has reawakened and is ready to roar loudly again.
Singer-songwriter, Emma Hunter, has been the voice of popular Oxford-based bands such as AmberState and the Halycons, and since 2019, she’s worked alongside drummer, Tom Bruce, putting her own formidable spin on alt-indie-pop.
With vocals which pull you in with the same strength as Florence Welch’s or Marina and the Diamonds’ coalescing with instrumentals which veer from mainstream archetypes while retaining all of the commercial potential, it’s impossible not to become consumed by her viscerally poignant releases. The single which caught our attention and refused to let go was her latest single, ‘Here I Go’, which demonstrates how seriously Emma Hunter takes her responsibility of creating light from the dark.
Here I Go artfully extended the conversation around domestic violence by a perspective-shifting length. It exhibited the weakness of perpetrators compared to that of survivors who have been psychologically crushed or physically abused by ‘romantic’ partners. For the first time as I watched the nuanced video unfold, I contemplated the unlikelihood of abusers being able to endure what a victim does, concluding that intimidation through power is the ultimate form of weakness.
With lead guitar tones which insidiously creep throughout the soundscape, the trepidation leaves you transfixed from start to finish, it’s a track which keeps your breath bated until long after the prelude. I honestly couldn’t have more respect or admiration for Emma Hunter and her classy controversial sound.
The official video to Here I Go is available to stream via YouTube.
It would be oh too easy to dismiss The Gaffs’ ‘Is It Safeway Or Woolworths?’ as one more in a long line of dreaded ‘novelty singles’, but that would totally disservice the superbly crafted chorus hook, exquisite guitar work, and the obvious quality of the song-writing and musicianship here. Insanely catchy and sing-along, beneath the gonzo lyrics is a solid indie-pop song, reminiscent in place of the Kings Of Leon’s ‘Sex On Fire’ or, just maybe, Sultans Of Ping FC’s ‘Where’s Me Jumper?’.
The Gaffs cite themselves as ‘some of the greatest thinkers of their time and are willing to ask the big questions around consciousness, existentialism and the difference between Safeway and Woolworths’. While that may be pushing it, they’re certainly a quality indie-pop band, and ‘Is It Safeway Or Woolworths’ is definitely a quality pop tune.
Check out the video for ‘Is It Safeway Or Woolworths’ on YouTube, and follow The Gaffs on Facebook.
Indie Slovak-based Pop duo Dennyiah have released their lockdown-born debut album, Human Aspect. It would be no exaggeration to say it is one of the most viscerally pioneering albums to drop this year.
The authenticity is only matched by the artist’s ability to utterly consume your consciousness through the sheer intensity of the sound. If you’re anything like me, you’ll have found any discernible emotion hard to come by over recent months. I think I practically overdosed hitting play on Dennyiah’s debut album.
The potency of the emotion carried in the vocal notes is overwhelming from the start. There are some Florence Welch reminiscences within the high notes, but then raw vocal power which parallels the likes of Cyrus while emitting the same evocative magnetism as Sharon Van Etten kicks in. Don’t be surprised if you’re choking back the tears listening to these succinctly colossal singles run through.
With Grammy-award-winning artists such as violinist Adam Baldych joining the collective of instrumentalists who contributed to the track which was mastered by Dave McNair (Bowie, Springsteen, Hole and Maroon 5), it’s no great surprise that Human Aspect borders on the celestial while offering promising modernity.
You can check out Human Aspect for yourselves by heading over to Spotify.