Browsing Tag

Indie Pop Producer

Asiah Holm Etched the Sting of Emancipation into the Ambient Ache of ‘Let Go’

Taken from Asiah Holm’s debut album, The Mask You Made, the standout single, Let Go, fuses the fractured, scratchy magnetism of downtempo trip-hop percussion with minor key indie piano pop melodies, creating a cathartically ambient platform for the singer-songwriter to unravel her pain, poise and poignant lyrics that illustrate the struggle of knowing you need to write your next chapters away from a soul that brings you the comfort of home.

From the artfully stylistic intricacies in the arrangements to how the single builds into a crescendo which visualises the bitter-sweet emancipation of freedom you had to fight for but never wanted, to the complete synergy between harmony and melody, Let Go came from a place of pain and became one of raw resonance that fully encompasses the phenomena of emotional dissonance.

Based in Edmonton, Alberta, Cree First Nations singer-songwriter and self-producing polymath Asiah Holm draws from her Indigenous roots while scoring emotional narratives through layers of ambient electronica, folk, indie and pop. She’s made her mark by building emotive architecture around memory and internal conflict, using her home studio as a sacred ground for sonic introspection.

With a string of acclaimed releases already under her belt, including her Self-Portrait EP, which secured Native American Music Award nominations and Canadian Folk Music Award recognition, Holm has already proven she’s a natural evocateur who never pulls punches while laying her heart down on the line.

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

Review by Amelia Vandergast

Spyndycyt Gilds Existential Despair with Synth Pop Grace in ‘We Are All So Glad To Be Alive’

We Are All So Glad To Be Alive by Spyndycyt renders celestial light into philosophically avant-garde synth pop gospel. Though the familiar eccentric histrionics of Spyndycyt’s vocals carry the lyrics that make a mockery of Nietzsche’s nihilistic quest to find meaning in meaninglessness, We Are All So Glad To Be Alive is a rapturous departure from Spyndycyt’s former alt-electronic pop releases.

With polyphonic synth pop progressions which baptise you in the warmth of embracing how there’s beauty in the suffering and life, in its imperfect form, is deserving of gratitude, the revelation within the release will help anyone push forward with maximum momentum. The next time you’re tempted to attend a self-pity party, just hit play instead.

The Boston-based conceptualist and sonic architect behind Spyndycyt has never cared to conform to genre or emotion in any traditional sense. Where most artists build hooks, Sam constructs labyrinths of introspection; think of the track as a field guide to surviving the psychological quicksand that comes from dancing with your lizard brain. That primal, snarling voice hissing doubts and self-flagellations is outed here, then diffused with a holy fusion of synth grandeur and unfiltered spiritual reckoning.

Each verse reaches for transcendence while acknowledging the ugly, bloody scuffle it takes just to stay upright. But here, existing is framed as a sacred act, and each harmony is a hymn to the fragile ecstasy of carrying on.

We Are All So Glad To Be Alive is now available to stream on all major platforms, including SoundCloud. 

Review by Amelia Vandergast

SUHAIB Revived Romance with his Intimate Self-Produced Indie Pop Debut, ‘All It Was’

 After years of crafting soundscapes under the moniker ‘Osiris’, SUHAIB (Suhaib Qasim) stepped into his new era with his debut single, All It Was, a resonantly raw indie pop ballad that proves his place among the genre’s most evocative storytellers.

Out on Valentine’s Day 2025, the track arrives with a lyrical tenderness reminiscent of Elliott Smith, complemented by acoustic guitars that shimmer with diaphanous warmth. It’s the kind of sound that reaches into the depths of the listener’s soul, tugging at threads that often go untouched by today’s fleeting pop trends.

Through orchestral crescendos and delay-soaked arrangements, SUHAIB transcends indie conventions, offering a poignant meditation on how the smallest moments and exchanges can leave the most profound impacts, especially when they touch people as they come of age in a world full of potential, determined to hold what’s close to them in spite of the possibilities. The weight of the single feels all the more impactful in an era where such subtleties are often overlooked. SUHAIB has called All It Was one of his most personal creations to date—and it shows.

As an Indian-American, second-generation Southerner with roots in jazz and a pandemic-forged production ethos, SUHAIB brings a singular perspective to his music. His path from poetry-filled quarantine nights to mastering multi-instrumental arrangements speaks to his dedication to the craft. Following his early successes with the EP Half Life and singles like Euphoria, SUHAIB’s reintroduction under his birth name reflects an artist who has grown into himself, bringing both emotional depth and technical sophistication to his work.

Stream All It Was on all major platforms, including SoundCloud, from February 14th.

Review by Amelia Vandergast

Leah Nawy Blossomed into Indie Stardom with ‘I Was a Flower’

Leah Nawy’s latest single, I Was a Flower, is an emotional sojourn you will never want to return from. Drawing on influences from Big Thief, Yo La Tengo, and Grandaddy, the track unfurls like a séance of tonal sublimity, decorated with artful flourishes and polyphonic bursts of hazy reverie.

If the aforementioned artists hit you in the feels, imagine that emotional weight paired with a voice that fuses Norah Jones’ intimate introspection with the soaring range of Macy Gray.

The thematic blossoming within the track’s progressions ensures every component heightens the emotion and intensifies the resonance, effortlessly showcasing Leah Nawy’s depth as both a songwriter and producer. At just 23, the NYC-based artist, who honed her craft at Berklee NYC, has mastered the art of making every note and lyric hit with purpose.

I Was a Flower was officially released on October 2nd; stream the single on Spotify now.

Review by Amelia Vandergast

Micah! is California dreaming in their latest alt indie pop release, STAY UP

You don’t need Micah!’s bio to tell you that they’re a Cali-residing artist, you can hear it in the dreamy warmth of the hazy melodies in their latest alt-indie-pop single, STAY UP, which teases nuances of hip-hop into the mix with sharp pseudo-rap cadences in the verses.

After honing their songwriting, recording and production skills for a decade, STAY UP is a catharsis-soaked culmination of all the time invested in their unflinching dedication to carve out a niche that listeners will want to nestle into time after time.

Fans of the deliciously delirious tonal palettes alchemised by NewDad, Jibba, Just Mustard and other contemporary indie icons in the same vein will find endless appeal in STAY UP, which is yet another attestation to Micah!’s potential that has already been actualised after the artist opened for Snoop Dogg and hit the 1 million stream mark on SoundCloud.

STAY UP was officially released on September 19; stream the single on Spotify now.

Review by Amelia Vandergast

Evie Lulu has launched her superlative sludge pop single, Adored

After earning her stripes as a music producer, the singer-songwriter, Evie Lulu, made her latest single, Adored, definitively her own. Beyond the similarities to Daughter and Warpaint, the lyrically-driven artist is exemplary in her determination to allow spilled ink to manifest as melodic triumphs that catch in your throat before they take up residence as a sludgy indie pop earworm you will always want to appease by giving her candidly kaleidoscopic soundscapes repeat attention.

Pop, rock, and grunge may be common ingredients in many modern-day amalgams, but the songstress who takes inspiration from Bon Iver, Kate Bush, The Sundays and Silverchair when orchestrating her reflectively uninhibited releases is in a league of her own. From the delicious distortion on the guitars to the vulnerability within the vibrato in the vocal lines, Adored is a bitter-sweet sonic dream, which is all too efficacious in its ability to hammer home the emotions expressed.

Adored hit the airwaves on March 1; hear it on Spotify.

Review by Amelia Vandergast