Browsing Tag

garage rock

8udDha bl0od’s Black Cats & Revelations is a Psychedelically Spacey Séance Summoning Spectres of Neo-Pop and Garage Rock

https://on.soundcloud.com/6TnP2zhjTsuJuUsR7m

Black Cats & Revelations is one of the most spectrally divine singles from Brighton-based singer-songwriter 8udDha bl0od yet. The romanticism of early gothic sonic spells curls like tendrils of smoke through the single, immediately placing the release in that strange, delicious borderland where desire, dread and dream logic start sharing a cigarette.

The ghost of Nico lingers in the room, all pale candlelight and fatal glamour, yet 8udDha bl0od carries the track through his own bittersweet cinematic crooning. His voice pushes the spacily psychedelic single into the fringes of neo-pop and garage rock, while the arrangement keeps slipping into darker water. The guitars feel half-summoned, the atmosphere feels occult, and the production allows the shadowed detail to breathe without turning the whole thing into theatre-kid melodrama.

Black Cats & Revelations resists any neat genre pigeonhole, and with 8udDha bl0od, that has always been part of the pull. He drifts between the borderlands, guided by the force of his consistently thematic imagination. Here, he moves a little deeper into the darker side, orchestrating a single with an unhallowed gothic-folk atmosphere, the sort you would expect to hear as a piece of arthouse folk-horror cinema reaches its epilogue.

For fans of gothic oddities, spectral pop and garage-rock séance energy, Black Cats & Revelations will undoubtedly leave you at the altar of 8udDha bl0od

Black Cats & Revelations is now available to stream on SoundCloud.

Review by Amelia Vandergast

Indie Landfill Finally Sees Daylight: SilverHorizon’s Come Down Is Garage Rock with The Strokes in Its Blood

The seminal single Come Down from SilverHorizon’s eponymous debut LP sounds as though it could have been fired straight from the barrels of The Strokes’ own canon. Formed in 2024 in Worcester County, Massachusetts, the alternative-rock powerhouse already carries the nerve and live-wire looseness of an act sharp enough to tear straight through the static of relentless indie assimilation.

The swanky, garagey, gyrating energy is fed unrelenting momentum through the rhythm section, driven by Connor MacEachern, while Bryce Broberg’s vocals croon style into substance and the guitars are filtered through a nostalgic kaleidoscope of scuzzy effects to achieve authentic indie-garage earworm aesthetics. With drummer Kenny Snider locking the whole thing into motion, Come Down feels restlessly ready for sweaty rooms.

For anyone who felt their growing pains while listening to The Walkmen as they debuted, or anyone who got hooked into indie through the devil-may-care ensnaring force of Fontaines D.C., SilverHorizon is the light at the end of the tunnel of indie landfill. Their influences may include Two Door Cinema Club, Royel Otis, Alexsucks and Arctic Monkeys, but the band already sound like they are chasing their own damage.

They have the attitude, the songwriting chops and that certain je ne sais quoi of charisma that lands in just the right spot between cocky and magnetic. If any indie band has what it takes to break through in 2026, we’d put our money on SilverHorizon.

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

Review by Amelia Vandergast

Soul Dive – Shell of a Man: a Brashy Rock Breakout with Slacker Rock Swagger

Fresh faces in rock are always easy to underestimate, but that only makes being gripped by the brashy, euphoric adrenaline of Shell of a Man by Soul Dive all the more exhilarating. Hailing from Pittsburgh, Pennsylvania, the four-piece began where a lot of great rock bands do: in a garage, with loud guitars, raw vocals and a shared hunger to make music that actually makes you feel something.

So, imagine if the New York Dolls came onto the scene 20 years later and experimented with punk-riled slacker indie rock, then give that parallel sonic universe the melodic pull of 00s rock in the vein of Semisonic and The Calling, and you would end up with the infectiously authentic emotive pull and panache of Shell of a Man.

Rather than splicing together all the juiciest parts from the annals of rock, indie and punk in an attempt to create a Frankenstein’s monster of hook-rife rancour, Soul Dive organically make their music feel greater than the sum of its parts by the sheer will of their unfeigned imagination.

There is a wild current in the performance, as though you can feel the friction of Luca’s commanding vocals, Cristiano’s driving guitar, Santino’s rhythm and keys, and Rylan’s deep bass grooves pushing the track forward and rubbing against their determination to hook you into the momentum of their lyricism.

With influences spanning Pearl Jam, Green Day, The Black Keys, Radiohead, Audioslave, Metallica and Pink Floyd, Soul Dive are already naturally hungry for rooms as big as their sound.

Shell of a Man is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Itz Namo Interview: Heartbreak Wires, Open Scars and the Spark Behind FLATLINE!

Through his music and this interview, Itz Namo brings raw feeling, lived experience and a clear refusal to shrink his ambition into something more acceptable. Here, the Grand Rapids artist opens up about the personal history behind FLATLINE!, tracing its heartbreak, lovebombing and confusion back to loneliness, emotional setbacks and the hunger to turn pain into something lasting. He also reflects on his family’s musical roots, the garage rock and 80s-leaning sound that fuels his songwriting, and the moment live performance shifted his approach to melody and crowd connection.

Welcome to A&R Factory, Itz Namo. With FLATLINE! out in the world, we’re glad to have you with us. For anyone discovering you through FLATLINE!, how would you introduce yourself as both an artist and a person behind the songs?

Hey, I’m Itz Namo, but my real name is Aiden. I’m a trans man who looks into my past or what I’m currently going through right now, and I’m the person who wrote and sing my all into these songs! I was born in Grand Rapids, Michigan and from my mom’s side of the family were all mariachis. I never met them but she always told me stories about them and their gigs that they had in Mexico and now i’m trying to keep this music tradition going but not as a mariachi band but as an independent artist to spice things up!

FLATLINE! covers heartbreak, lovebombing, confusion and falling hard for someone. What was going on in your life that pushed those themes to the surface so strongly on this record?

For a long time, I felt alone. The failures that I’ve gone through situation-wise or relationship-wise I used to think that in order to be happy in life was to find that special someone but now that I’ve been alone in this journey for a long while now, I’ve realized that I need to chase my dreams and accomplish them.

There’s a real emotional push and pull in the way you describe the album. When you were writing the lyrics, how did you decide what to say plainly and what to leave a little more open-ended?

When I write my lyrics I sometimes just go with the flow of what I’m feeling on that day. I sometimes do like a Kendrick Lamar lyricism type of vibe but also a bit more of Taylor Swift because I can’t stop talking about these relationships that I’ve gone through.

You’ve said you want your music to carry a garage rock edge, an indie feel, and the spirit of 80s rock with a modern twist. What pulls you towards that sound, and which parts of it feel most natural to you?

I want people to have a nostalgia feeling when listening to my songs I feel like a lot of music back then had a ton of meaning and that’s why people listen to it still because they can relate to someone talking about the things that they went through but now and days a lot of people make songs just for a quick money grab when in reality music holds a deeper message.

Your songs sound like they’re built to be sung back in a room full of people. When you’re writing melodies, are you thinking about that live connection from the start, or does that come later?

At first, I wasn’t thinking about a live connection, but after performing for the Eastown Street Fair at the Mulligans Pub I sang “Get Loose” and the crowd was amazing, singing along the chorus but then I realized after that I need to make more songs that the crowd can get more engaged in singing along.

Some of the album also deals with people doubting you and telling you to give up on music for a regular job. How did that pressure shape your mindset, and did it light more of a fire under you creatively?

I showed My favorite teacher in highschool my music and he told me I shouldn’t chase my dream to become a music artist and to instead work in construction or work in business, it was that day that I knew I wanted to prove him wrong so I started watching steve lacy ted talk on youtube over and over again and watched twooba and other youtubers on how to make music on the Garageband app I wanted to show people that you don’t need expensive equipment to make music but to use what you can around you.

Performing at Pyramid Scheme in Grand Rapids must have felt huge, especially knowing the names that have played there before you. What did that moment mean to you personally, and did it change the way you saw your place in music?

Quick shoutout to Knorberg band for sharing that stage on that night! They didn’t have to bring me up there but they did! And also Driving In The Bike Lane for giving me a free ticket to watch their show at the pyramid scheme and giving me advice on how to perform, Anyways! Honestly it was a big accomplishment to me, one of my biggest idols that I listened to since I was a teenager, Mac Demarco was singing on that very stage where I was standing. And seeing the way the crowd move with the music makes me wanna do better songs that more people can feel good listening to!

With a deluxe edition on the way featuring other artists, what can you tell us about the collaborations, and what sides of FLATLINE! will those extra tracks open up?

This is honestly my first time doing a deluxe album with collaborations but we have a few collabs in there featuring Z!pt!e, Animal Fries, and Emjaay that you all will be hearing from soon! And also a few unreleased songs from yours truly! And I know that this album will open up a new wave of listeners for the audience to check out their music and be prepared to hear more heartbreaks and bangers on the deluxe album! 🙂

Stream and connect with Itz Namo on all major platforms via this link. 

Interview by Amelia Vanderast

Puppies & a Demon blurred psychotropic lines of lo-fi alt-realism in ‘Illusions’

Puppies & a Demon rode the crux of the surf rock wave in Illusions, their psychedelically twisted, lo-fi cruise through grungy indie territory. In one hand, they clutch the kaleidoscopic soul of the 60s, in the other, the sludge of the alt-90s, all while churning up their own brand of sonic dissonance that doesn’t ask for attention so much as it hypnotically absorbs it.

The title may suggest ambiguity, but the creative conviction in the track’s layered textures leaves no room for doubt. Whether you’re new to the idea of reality being little more than smoke and screen, or you’ve been reading behind the veil for years, the impact of this trip is the same. It’s a cosmic exit sign lit by garagey distortion and psychotropic catharsis. The vocals drift between sardonic sweetness and cryptic harbingering, chameleonically slipping in and out of harmony, allowing the freaked-out to be comforted while ruffling the complacent.

Puppies & a Demon are already gaining notoriety for their commitment to sonically warped storytelling. Illusions feels like it bubbled up through the cracks in the pavement after a rainfall of existential dread and came coated in the kind of fuzz that illuminates. There’s method in their madness, but they never let that get in the way of the obscurity. The track’s lo-fi roots hold steady while the band lets their freak flag fly somewhere between the Californian coast and an abandoned squat’s basement speaker stack.

Illusions is now available on all major streaming platforms, including YouTube. 

Review by Amelia Vandergast

Avantide – Sleep It Off: oceanically woozy indie art rock

Avantide deliver the rare capacity to melodically unfray your nerves while sating even the most voracious appetite for indie art rock aesthetics in Sleep It Off, a track that moves as the mellifluous, oceanically woozy equivalent to hitting the ground running with their LP Keep Running. Formed in Bismarck by down-to-earth music fans who met in a record shop and built a band from shared obsessions, they turned their rise into a slow-burn trail of shows, collaborations and studio hours that shaped the sonic tides they steer through now. Sleep It Off embodies that rhythmic sublimity; the Strokes-y twitch of nostalgia dissolves into cascades of timbre carved from artsy garage rock licks that gently warp the air around them.

The semi-lucid sentimentality of the definitively indie vocals hushes reverie into the kind of recognition you yearn for, a tender understanding and carressive caring that sits beside your idiosyncrasies and self-destructive tendencies without flinching. It is a track for the lovers who wear their hearts on their sleeves next to the culture that keeps them stitched together. Their record shop spawning starts to make all the sense here. To boot, few bands that take influence from the likes of Pavement reach this affectingly experimental place, affirming Avantide as a dying breed that I am going to be inseparable from this LP until the summer.

For this LP, Avantide shaped their material through a process rooted in friendship and persistence, from acoustic skeletons in Mandan rehearsal rooms to full-band arrangements refined alongside engineer Tyler Pilot at Red Dot Recording. Their LP Keep Running has so far earned praise from The Pentatonic and Obscure Sound while landing them shows with Dakotah Faye, The MoonCats and Stephen Steinbrink.

Sleep It Off is now available on all major streaming platforms, including Spotify. 

Review by Amelia Vandergast

Baffo d’Oro warped post-punk into gnarled garage rock ritualism with ‘Borderline’

Through gnarled basslines, reverberation of post-punk distortion, and a forebodingly mechanised monochromatic colour palette, Baffo d’Oro twisted alt-punk beyond recognition with their standout single, Borderline.

The rhythm section brings a tribalistic intensity to the reverent nod to garage rock, while the vocals summon the same infernal energy as Nick Cave and deliver the vocal grooves of Josh Homme. With so much happening in the atmosphere of the production, it would be easy to be overfaced if Baffo d’Oro weren’t irrefutable alchemists when it comes to contrast and catharsis through snarled confession.

Since 2020, the Swiss four-piece have been tearing through the alt scene with their brand of post-punk-garage-rock steeped in raw energy and jagged wit. Their sound is rooted in the discontent and drive of the late ‘70s and ‘80s, but it’s sharpened by a modern-day expositionism, drawn from their observations of cultural absurdity and social decay. After the release of their EP This is it, via their DIY label Much More Louder Records, Baffo d’Oro have stormed radio waves and festival slots. Borderline is yet another visceral reminder that this isn’t a band playing at rebellion, it’s a band exorcising something real through distortion and discipline.

Borderline is now available on all major streaming platforms, including Bandcamp and Spotify. 

Review by Amelia Vandergast

Catch a semi-lucid, hallucinogenic ferver with Volantes’ rock-fusion release, Main Theme

Volantes sharpened their cinematic lounge rock signature with Main Theme, a standout single from their upcoming LP, Diamonds. Through contortions of surf rock, garage rock, Flamenco licks, and shimmers of Cramps-y rugged debonair energy, the Malmö-based band put on an exhibition of pure guitar porn. They know exactly what tone will leave you weak at the knees, what scale will make you submit, and how to wield their swagger without ever overplaying their hand.

Far from your average wanky guitar-driven indulgence, Main Theme isn’t about flexing technical ability, even though there’s plenty of that on show. It’s about altering your state of being through songwriting instinct alone. The crooning vocals take a respectful backseat to the instrumental narrative, showing up just often enough to swathe the track in semi-lucid, hallucinogenic fervour.

For all their reverence to the annals of rock, Volantes have pushed beyond peddled retro tropes and created something that slides perfectly between cult cool and compositional cultivation. Their DNA might reference the past, but they’ve rewritten the blueprint on their own terms.

Following the sleeper success of their Gold & Fire EP on Argentinian social media, Main Theme launches the next chapter of Volantes with cinematic focus. And if this track is anything to go by, Diamonds won’t be polishing what came before, it’ll be slicing straight through it.

Main Theme is now available on all major streaming platforms; for the full experience, stream the official video on YouTube. 

Review by Amelia Vandergast

Postindustrial Poets sculpted psychic unease in Still a Stranger Here through dusky garage rock gloom meeting pangs of post-punk

You’d hope an artist titled Postindustrial Poets would be able to scratch the cerebral itch, wouldn’t you? In Still a Stranger Here, they dug their creative claws in deep enough to bleed. There’s an unshakable influence of The Doors and Iggy and the Stooges in the dark post-punk landscape as the vocals sear through echoes of Nick Cave and the swagger of the Cramps. With shadows of 60s psychedelia drifting over the dusky garage rock elements and angular guitars feeding monochromatic mist into the track that explores the pain of feeling like a stranger in the space you’re supposed to call home, Postindustrial Poets touched on a sense of desolation that plagues outliers.

The weight of emotional displacement pulses through the production as the restraint in the delivery makes the existential anguish even more affecting. While many artists wear their influences like a gimmick, Postindustrial Poets distilled the spirit of outsider anthems and let it swell through fuzz-drenched tones and simmering, shadow-cloaked rhythms.

Still a Stranger Here is the bleeding centre of their new album, released on 31st October 2025. With over a thousand daily listeners on Amazon Music, the resonance is already loud — but not half as loud as the ache it leaves behind.

Still a Stranger Here is now available on all major streaming platforms, including Spotify. 

Review by Amelia Vandergast

From distortion to devotion, Lewnatic preaches raw guitar gospel in Baptized in Rock & Roll

In Baptized in Rock & Roll (Class of 1999), Lewnatic anointed his outsider ethos in a lo-fi grunge-pop confession ripped from the amp-split seams of his EP, Overture. As an artist unafraid to wear his reverence for rock n roll on his sleeve, Lewnatic let his riffs do the talking in the standout single. There’s a touch of Arctic Monkeys’ indie swagger in the strings, a scuzzy nod to Weezer in the garage-laced licks, and a proud refusal to sand down any of the raw edges.

It’s a string-written love letter to amplification and distortion, the twin altar candles for a faith that’s been flickering since the ‘50s. Through tape-warped atmospherics, riff-loaded refrains, and a lo-fi crackle that feels more lived-in than produced, the San Francisco-hailing artist cements his place in the new class of underground alt provocateurs.

Lewnatic is the solo project of Patrick Lew Hayashi, whose cultural roots and lifelong punk-grunge obsession fuel the transgressive experimentalism across his expansive catalogue. After years fronting the Patrick Lew Band and cultivating digital subcultures through YouTube livestreams, Discord beat swaps, and street-level QR code promo drops, he’s hardwired his own genre-eroding universe. In Overture, the attitude comes pre-distorted. And in Baptized in Rock & Roll (Class of 1999), the riffs come sanctified.

Baptized in Rock & Roll (Class of 1999) is now available on all major streaming platforms, including Spotify. 

Review by Amelia Vandergast