St. Matthew is the latest release from the stunning singer songwriter Sky AKA Skyler Stahlmann. She pays reference to herself as ‘a small girl with a big voice’; that feels like the biggest understatement of the century after I have checked out her most recent single. St. Matthew is steeped in romantically pensive emotion, it’s clear that Sky didn’t supress the emotions which she poured into her performance. The lyrics are as deeply resounding as her voice. Sure, there are many artists around today with the similar style to Warpaint and London Grammar, yet the Sarasota based artist carries a personability to her soaring vocal style which makes her sound organic, textured and quite frankly stunning. The beat behind St. Matthew progresses in an almost ominous way, the minimalism makes it all too easy for Sky’s voice to dominate the track allowing he lyrics to hit you like a brick, repeatedly. Now I feel bruised.
You can check out Sky’s latest track St. Matthew on SoundCloud now alongside her other releases (she does a heart wrenching cover of Radiohead’s Creep).
If your vision of pop is as a music box of shiny, vibrant and boisterous sounds, West Ember opens your eyes to a wonderful new way of working in that genre. They takes the accessibility and simple elegance of modern pop but instead of charging off with them in party mood, cleverly she slows things down, spaces them out, makes them more soul searching and intimate. The result is the most seductive of grooves, one that snakes its way across the back of the song, changing speeds to alter the dynamic but essentially being the main musical thrust on which the song is built.
All In My Head combines deft acoustic indie deliveries with smooth electronic make overs and between these two musical points there is plenty of space but instead of filling it with the usual pop fare and cheap studio tricks, West Ember takes the braver option of leaving the middle ground fairly bare for the most part and apart from a few interesting, passing musical motifs and distant electronica and gentle calypso vibes it is essentially the atmospherics and emptiness in the centre that helps create the mystique of the song.
It is pop, yes, but it also ticks some more unexpected boxes. It panders chilled island grooves, ambient sensibilities and even flirts with the some smooth R&B, the result being slick, sassy and slightly sultry and able to provide a wonderful alternative to the usual neon lit youthful exuberance that normally goes hand in hand with the pop label.
How viscerally deep can lyrics actually get? Alex Eyre’s debut single Kingdom dug down into Obsidian’s blackest hole to pen the perfect lyricism to sit against her soaring poignant vocals.
The lines don’t hit you like a punch to the stomach, more a stab to the heart as she verses some of the best couplets I’ve ever heard. Her ethereally haunting soundscape is steeped in empoweringly sultry attitude which the South Coast, UK based singer songwriter effortlessly exudes. It’s really no wonder that within a month of the release of her first single Kingdom BBC Radio listeners got a taste of her sweet quintessential sound. Unlike many similar artists to Alex Eyre, Alex Eyre plays to her strength, her soulful voice, not downplaying her palpable maturity despite her age. Her compositions of sound are like nothing I’ve ever heard before in the Indie Electro Pop arena, it is tangible that Alex Eyre sets out to create pioneering sounds that don’t sit in the exact same chord progressions that we’re surely all sick of hearing by now?
You can check out Alex Eyre’s stunning first ever single Kingdom on Spotify now. Go on, discover her before your mates.
This song is so natural and so cool, the visual itself is also a simple colorful video which tends to interpret the message in the song so effortlessly. Just like Lilly Onakuramara of pitch perfect, Carla has this tiny but interesting voice, and the beauty of her vocals come alive each time a sound comes out from her windpipe.
Just as the name implies, ‘Wanting What I Can’t Have’ is a sumptuously diced pop song that draws the border line between two parallel situations, each passing through the eye of the needle.
The song has quite a great beat and visual. The lyrics of the song are normal cool and simple, they pass a distinctive message in the best possible way; which also happens to be another good factor in a well polished song like this one.
While the song might seem simple, it’s a s instant electro pop gem you will have playing time over time.
After their first two debut singles, the indie pop group still did it again; this time with ‘Baby Please’. The group obviously still has all the time in the world to make a name for themselves and they can achieve that feat pretty fast because the release of all their three musical songs have so far managed to find itself chilling at the good books of many music enthusiasts.
Fresh 5-piece indie outfit MAURITIA’s third single ‘Baby, Please’, a glossy indie-pop track featuring chiming guitars and a firmly rooted pop authority. Consisting of childhood friends Jonathan Yeo (drums), James Hughes (rhythm guitar), Sam Copsey (bass), Sean Blenkin (lead guitar) and Josh Hedges (vocals), the band formed in early 2017 and didn’t’ disappoint with their first two releases Skin and Tropical.
This track is a well cooked indie pop song. The sound vocals in the song are great throughout but it’s arguably the production which and the great instrumental beats that often gave the band an edge in this song.
It’s a lo-fi but yet an emotionally resonant song that revolves around acoustic guitar, drums and other layers of sounds like pads and synths. Some of the highlights of the tracks includes: the inventive beat that opened up the song to the listeners, the production and the distinctive sound which the music possess.
As I mentioned earlier, the production is top notch and this song clearly displays it. The band’s third release ‘Baby, Please’ is more of a synth heavy, guitar driven track written about the importance of being open and honest in a relationship.
Already having the opportunity to play alongside some well established bands such as Eliza and the Bear, Clean Cut Kid and Anteros the five-piece demand attention with their catchy tracks and energetic stage presence. The single features melodic riffs and a powerful and catchy vocal line, remaining with the listener long after the first listen.
Whilst the Indie Pop scene isn’t short of emerging artists, before you even get to the first chorus of Eluera’s second single Blackout you can tell that she shines a little bit brighter than the rest of her fellow up and coming artists. Her latest single Blackout (The Comedown) is alive with raw, organic melancholy. The lyricism is beyond anything I’ve heard before in the genre. Her evocative vocal styling is only amplified by the honesty in her lyrics which are so easy to find resonance within.
You can check out Eluera’s latest single Blackout on Spotify now and connect with Eluera on Facebook to stay up to date with her new releases, Eluera has already promised a string of singles that will be released later in 2018 after she saw the success of her first single ‘Him’.
For any fans of Daughter, Warpaint, London Grammar, the XX or Tom Odell; you’re not going to want to miss out on Eluera’s hauntingly captivating style and succinct synth styled sensibility.
In recent years we’ve seen the soundwaves swamped with swathes of up and coming Indie Pop musicians. Yet, I can safely say with Owen Petch’s latest single Let This Go he’s proven that he’s in an entirely different league. Yes, there’s a lot of moody people standing over synthesisers now and singers melancholically pouting into a mic. Yet, Owen Petch created a euphorically upbeat alternative with his latest single.
The Woking, UK based electronica artist began writing music back in 2016, he’s already treated his fans to two EP’s alongside his other single releases in which he creates a pioneering infusion of laid back synths around his unique vocal style. The vocals may be a little twee for some, yet, for fans of bands such as Smash Mouth will be in heaven with Owen Petch’s latest release due to the notable reminiscence, yet I’ll be honest, I’ve never heard an Indie Pop anthem as eccentric as Let This Go (and no I won’t let it go). As the track progresses, it constantly picks up momentum until the beat meanders into a more EDM arena with veracious swirls and drops alongside Petch’s vocal hooks.
You can stream Owen Petch’s latest single Let This Go on Spotify now
Manchester never failed to breed astounding musicians, Indie Pop Rock duo Good Talk are certainly no exception. Their lively quintessence gives their music a soulfully euphoric edge through their synthy sensibility. Their debut single Falling Behind was released April 18th, 2018, proving that Good Talk are not just another Indie Pop act, Miranda Amess’ creates a multi-layered vocal harmony that is impossible not to get lost within, her vocal ability could easily put her up there with the likes of all your favourite 90’s female Pop singers. There’s a wonderful tinge of nostalgia to the track with a contemporary twist. Considering Dean Nelson mastered all of the instrumentals independently on Falling Behind, you really couldn’t expect more. Whilst the message behind Falling Behind is projected subtly through the lyrics, it’s a message we can all resonate with. I have no doubt everyone at some point in their lives has been held back by someone, which makes Falling Behind a blissfully empowering listen.
To encapsulate the good-vibe feel of the track through words alone is near impossible, so you’re going to have to check out Good Talk’s new single Falling Behind on SoundCloud for yourselves.
Follow the duo on Facebook to stay up to date with their new releases.
South London has no shortage of Minimalist Electronica artists, but BE/\R have no trouble standing out from the crowd with their iridescent talent which enables them to orchestrate empyreal sensations such as their latest single BITES which will be official released as part of their much-anticipated EP this summer. If you’re a fan of Chelsea Wolfe, London Grammar and Zola Jesus, you’re going to love BE/\R’s overwhelmingly blissful sound which is orchestrated by the producer and singer song writer duo. The vibrantly uplifting sounds are composed by Kev Sadikovic and Reggie Thrower, their talents combined make some of the most soronous downtempo Synth Pop on the scene today. The vocal delivery is nothing short of impressive, with the same haunting harmony as artists as London Grammar and Warpaint, yet at the same time you’re treated to a beautiful fractured South East London twang in the female vocalist’s accent which brings a whole new realm of resonance to BE/\R’s sound, which wouldn’t be out of place on mainstream radio.
You can check out the single BITES on SoundCloud today:
sā·lō’s latest track Run is a sonorous Indie hit thanks to the combination of heart wrenching vocals and lyrics that add insult to injury. The ingenuity that went into the track is simply astounding, whilst the Lo-Fi sound may not to be everyone’s taste, I can never resist the charms of the reverberation that hang over beats and guitar riffs to create the perfect resonance. Which is exactly what the underground artist achieved with his debut release. The power of the passion that lingers in sā·lō’s indie pop is not something to underestimate. What perfectly rounds his latest track Run off for me was the soaring Soul guitar riff that followed the chorus, it mixes up the track, and shows just how serious sā·lō is as an artist.
The Canadian artist set out to make original music under his array of influences from different genres, he’s hit the nail on the head with his palpably pioneering Indie Pop. This track is universally lovable, whether you’re a Taylor Swift, The XX, Editors or Alex Cameron fan, you’re going to need to check it out.
Check out sā·lō’s Indie Pop masterpiece on Soundcloud using the link below: