Browsing Tag

Indie Post Punk

Shake up your indie post-punk playlist with [glazier]’s prog-rock single, down.up.down.

If your indie post-punk playlists need a shakeup, the jagged, complex time signatures in the standout single, down.up.down, from the three-piece powerhouse, [glazier] will do exactly that.

While most artists experimenting with unorthodox time signatures usually do so with an air of inaccessible pretension, [glazier] take a more affable route by ensuring that there’s as much emotion to connect with as there is experimentation to get excited by.

With drums that will easily win over fans of The Walkmen, the sweetness of Elliott Smith, the hooky magnetism of Queens of the Stone Age and the chill of Interpol, [glazier] really are the entire package. It is only a matter of time before they find themselves presented with a major-label deal.

The official video to down.up.down premiered in May 2021; you can check it out for yourselves on YouTube.

Review by Amelia Vandergast

The Maitlands have dropped their brooding double A-side Diving in at the Shallow End / Bobby Driscoll.

If you could imagine what it would be like to experience Desert Mountain Tribe, Oh Sees, the Fall and the Jim Jones Review simultaneously, you still wouldn’t come close to anticipating the brooding eclecticism of The Maitlands’ freshly cultivated sound in their first release of 2021.

With their double A-side, Diving in at the Shallow End / Bobby Driscoll, they’ve thrown a significant proportion of their humble indie rock swagger to the wayside to find more room for their artistic fortitude.

Mark Winterburn’s (Nine Black Alps, Plan B, Don Bronco, The Script) production, engineering and mastering brought a cinematic flair to the singles with symphonic motifs decorating the signature affably despondent style from their earlier releases. But honestly, I feel like I’ve just experienced the darkest post-punk glow-up imaginable.

Diving in at the Shallow End starts with desolate desert rock tones before the percussion starts speaking to you on a primal level, and discord starts to amass in the psychedelically arranged single until it breaks into a frenetic feat of dingy garage rock n’ roll.

Bobby Driscoll is a conceptual exploration of identity, loss and tragedy inspired by the story of the Disney child actor who wound up in an unmarked grave. It starts by stripping hubris away with the simple yet disarming question, ‘Do you ever feel like you’ve become a caricature of yourself?” As someone who frequently navigates the world in a dissociative state trying to uphold the image I project, it’s safe to say the compassionate narrative hit hard as it unfolded around the walls of shoegazey guitars and percussion that thrashes its way through, managing to reflect the inner turmoil that anyone with a hint of self-awareness feels.

Both singles released on September 3rd; you can check out the singles on Spotify, Amazon and iTunes via this link or connect with the Maitlands via Facebook.

Review by Amelia Vandergast

Corey Mejai – Stuck Inside a Lost Dream: Ethereal Indie-Folk

If Tom Smith broke away from the Editors and started a solo project, we’re fairly certain there would be stark reminiscences to singer-songwriter Corey Mejai’s latest release, Stuck inside a Lost Dream.

The downtempo release allows the acoustic guitar chords to dominate the minimalist instrumental arrangement that is laced with trippy ethereal effect to add even more mesmerising beguile to the post-punk tinged indie-folk single.

Stuck Inside a Lost Dream is due for release on July 21st; you can check it out for yourselves by heading over to Soundcloud. For more info, head over to Corey Mejai’s website.

Review by Amelia Vandergast

London’s prodigal son John Lion returns with his latest indie rock hit, ‘The Sun is Up’

London-based singer-songwriter John Lion has followed on from his lockdown debut with the stellar slice of alt-rock, The Sun is Up.

With a slight post-punk snarl to the vocals that find themselves in between the stylings of Cornell and Gallagher along with the definitively British jangle pop indie guitars that are laced with Seattle-style-sludge, The Sun is Up is a fiercely energetic revival of the alt-90s, we can’t wait to hear more. You fall into the scuzzed-up, cutting track, instrumental hook, line and sinker.

The Sun is Up is now available to stream via YouTube.

Follow John Lion via Instagram.

Review by Amelia Vandergast

Post-punk pioneers, Tube Amp 101, are set to release their single, ‘Strawberry Smile’

Tube Amp 101

Perth, Australia’s most promising indie post-punk outfit, Tube Amp 101 are set to release their sophomore EP, True Friend which features their mesmerising lead single, Strawberry Smile.

Fans of Echo and the Bunnymen, Desperate Journalist, Big Thief and the Smiths are sure to appreciate the overdriven tones overlapping snappy, fervent percussion to create a bed for the dream pop-style vocals that add a stunning sense of vulnerability to the release.

Living in Manchester UK, I’ve heard my fair share of post-punk and indie jangle pop, but it is safe to say that nothing flows in the same lusciously dark vein as Strawberry Smile.

You will be able to check out Strawberry Smile from June 18th via SoundCloud.

Review by Amelia Vandergast

WE ARE MONROE – BABY LOVE: euphorically dark indie post-punk. 

‘BABY LOVE’ is just one of the three tracks that feature on the latest EP, ‘MOVEMENTS’, from WE ARE MONROE, a Canadian-based alt-rock powerhouse making waves by showing the softer, more affable side to post-punk.
With Kessler-style cuttingly angular guitar notes over danceable beats and shimmering synths, BABY LOVE is an enliveningly authentic track that proves why WE ARE MONROE hasn’t failed to gain plenty of momentum with their euphorically dark indie sound. With Gus Van Go (Arkells) on production, it comes as no surprise that BABY LOVE boasts an anthemically absorbing feel that you’ll want to delve into time and time again. BABY LOVE will undoubtedly be a hit with any fans of Franz Ferdinand, The Killers, Spector, Bloc Party and Kasabian.
BABY LOVE is now available to stream via SoundCloud.
Review by Amelia Vandergast

Sleep Walking Animals have released their post-punk infused folk single, ‘Dance Laura Dance’

Folk and indie post-punk collide in the latest single released by the alt-rock luminaries, Sleep Walking Animals. Refreshingly, reminiscence to contemporary folk chart-topping artists are there, but Sleep Walking Animals didn’t allow them to dominate their organically progressive single.

In the same way that Frightened Rabbit’s music was darkened by an inexplicable despondence, Sleep Walking Animals’ latest single gives that multi-faceted sense of emotion, making the euphoria-bleeding choruses so much sweeter.

With cutting post-punk tones spilling from the basslines behind the steady, momentum-building, choral guitars, Sleep Walking Animals created the perfect platform for the richly harmonic imploring vocals that reach out with enough finesse to reassure you that Sleep Walking Animals have exactly what it takes to be the next big name in indie.

The Manchester/London residing artists may be relatively fresh from their inception, but they’re already proving they’re one to watch.

Dance Laura Dance released on May 21st; you can check it out for yourselves by heading over to SoundCloud.

Review by Amelia Vandergast

Pleasure Centre – deep, ethereal dreampop with ‘Blue (Bertha)’

Carving a unique niche in the overly-effected and saturated tones of the current Shoegaze scene is a tricky call, but that’s pretty much what Scarborough’s Pleasure Centre have managed to do with ‘Blue (Bertha)’, mixing up old-school Slowdive, Ride, My Bloody Valentine, Cocteau Twins, and BDRMM with Beach House, bits of Bloc Party, and a touch of Morrissey’s vocal vibrato and lazy delivery. Add in some Psychocandy-era Jesus and Mary Chain, a touch of Swervedriver, and a liberal sprinkling of Fleeting Joys, and you get ‘Blue (Bertha) – a gentle, ephemeral thing of beauty, all chiming chorused guitars, pushing, background-soaking bass, and layered, reverb-drenched vocals. Melancholic, ephemeral, and echoing, this is a floaty, ethereal take on post-rock dreampop that – for all its delicacy – really deserves to be played loud.

You can check out Pleasure Centre on BandCamp now, and follow on Facebook and Instagram.

Review by Alex Holmes

Biz-ARD invites you to get into ‘The Vibe’ with his dopamine-boosting alt-pop playlist staple.

If there is an up and coming pop artist worth paying attention to in 2021, it’s Liverpool-born high-vibe alchemist Biz-ARD. His latest single is a stylish funk-filled invitation to shake off the apathy and to ‘step in the vibe’. You’ll be putty in his hands before the first verse runs through.

With choppy guitars akin to the ones in Bowie’s Let’s Dance paired with Biz-ARD’s indie and post-punk tendencies, The Vibe is accessible from the first hit while still unravelling as a brand-new sonic experience. Mostly because you’ve never encountered an artist like Biz-ZARD before.

To truly appreciate The Vibe, you’ll need to check out the official video that documents Biz-ARD’s greenscreen-enabled globe-hopping and vibe sharing. It is available to view via YouTube.

The Vibe is also available to stream on all major platforms via this link.

Review by Amelia Vandergast

Empire Of Lights ‘Hit The Highway’ out of South Wales and into the big leagues.

Small towns in Wales seem to regularly turn up superb melodic rock bands, and Empire of Lights – with their new single ‘Hit The Highway’ is no exception to that rule. Sparse, echoey guitar, pounding drums, and driving bass are the order of the day here; there’s a gothy vibe to the music, a feel of ‘The Forest’ or ‘Jumping Someone Else’s Train’-era Cure, mixed with Johnny Borrell Razorlight vocals from singer John Aziz.

It’s a vaguely psychedelic, spacey sound – there’s something special about the dynamics of three piece rock bands; think Hendrix, Cream, Husker Du and Sugar, and of course Nirvana. The interplay between instruments and vocals, the necessity of accepting and using space rather than simply turning everything up louder than everything else, allows for a different approach and that serves Empire Of Lights well here, adding to that slightly ephemeral, dreamy feel, and coming from such a young band – drummer Eifion Davies is still too young to drink in the bars that Empire Of Lights should be playing this year – shows a realy understanding of arrangement and songwriting. The future looks very bright for Empire Of Lights.

Hear ‘Hit The Highway’ on Spotify; follow Empire Of Lights on Facebook and Instagram.

Review by Alex Holmes