Browsing Tag

indietronica

Conelrad Suspended Vulnerable Purity in the Grandaddy-Esque Polyphonia of ‘party’s over’

Posted on 30 March 2026

It is only a matter of time before the prestige of Conelrad’s sound becomes industry-recognised. The solo independent musician from Co Durham deals in the kind of leftfield indietronica that coils around the heartstrings in such a visceral way it reminds you what the true vulnerability of intimacy feels like.

The release juxtaposes crunchy electronic bedroom-rock textures into introspective sound design, with harmonised vocoders smudging the boundary between voice and synth until everything feels half-human, half-machine, and fully transportive. There’s melody all through it, but none of it comes cheap.

So, if the scuzzy drones of retro analogue synth lines have a tendency to lull you into a state of catharsis, party’s over may just leave you catatonic as you’re suspended within the bliss of the Grandaddy-esque polyphonia. The transcendent feat of leftfield indietronica wears its 80s influences on its sleeve while pulling from electronica-leaning experimental 90s textures and pushing those retro aesthetics somewhere fresher, somewhere dreamier, somewhere touched by cinematic scintillation. Conelrad’s composition and performance skills are resolutely on display in the euphonic production, carrying the release with the authority of Mogwai and Sigur Ros.

The seminal release strips the weight right off your soul and leaves you drifting in a neon haze, a bit dazed, a bit spellbound, and don’t be surprised if you’re left in absolute awe of the affecting nature of Conelrad’s talent.

party’s over is now available on all major streaming platforms, including Bandcamp.

Review by Amelia Vandergast

My Lo-Fi Heart – We Can’t Fall: A Cosmically Hot and Heavy Indietronica Fever-Dream of Hedonic Fervour and Cosmic Lust

Posted on 6 March 2026

My Lo-Fi Heart opens We Can’t Fall with the kind of cinematic promise that feels primed for a cosmically hot and heavy transhumanist romantic blockbuster. The Sheffield indietronica producer knew exactly what he was doing with the aphrodisiacal way he relays the lyrics in vivacious reverberance over the collisions of strobing synths. The oscillating crushes of reverb, the beats, and the phasers open a vortex of seduction around the rhythm section, carrying the hedonic fervour of a sticky basement club where time slips and inhibition thins. It is a track that sweeps you straight into its own neon haze, built on the thrill of surrendering to a moment that feels weightless, fevered, and immutable.

As the layers build, the magnetism grows, echoing the same kind of uncompromising electronic intensity associated with artists such as Alec Empire, yet it remains steeped in the modernistic indietronica edge he has cultivated through his own sonic instincts. We Can’t Fall moves with a rush that flirts with euphoria while letting fragility seep in around the edges. It is an addictive source of ecstasy that refuses to hit you with a comedown, even as it spirals through emotional states that orbit love, longing, and the desire to stay suspended in a moment that feels too incandescent to drop from.

Behind the project is Sheffield-based multi-instrument hoarder Ian Turley, who has spent years sculpting lo-fi aesthetics into something immersive and intimate. His daydream-like textures drift between hazy synths, crunchy analogue timbres and dusty drum machines, always led by the idea that atmosphere matters more than perfection.

We Can’t Fall is now available on Bandcamp.

Review by Amelia Vandergast

ZKIN smoked through the shadows of lust in the artfully hypnotic single, Temptation

Posted on 8 January 2026

ZKIN closed out another year of leaving an indelible mark on the underground indietronica scene with the seductive standout single, Temptation, taken from their latest EP, Alibi. PJ Harvey fans will want to eat their rhythmic pulses out to the deliciously moody cut that captures the lasciviousness of lust when it curls its way around a habit that should have been buried years ago. The titular temptation isn’t brushed aside or resisted here; it’s indulged, smoked through, and sung into a haze.

ZKIN translated the shadowplay of desire into a session of pure hypnosis, with flurries of neo-classic piano keys dancing over swooning 80s pop-rock guitars, all winding into a trip-hopped diorama of longing. The groove coils slowly, but never aimlessly, weaving Malin’s rich vocals through the brooding textures. The emotional weight is there in every breath..

Since 2023, ZKIN has swerved away from conventional paths, building their own terrain of sonic and visual experimentation. The collaboration with Simon Söderberg as producer opened new dimensions, and the mixing and mastering from industry heavyweights elevated their instinctively underground instincts to cinematic heights. Jonas’s roots in sleaze-punk, jazz, and 60s psychedelia flicker through the edges, while Malin’s grounding in soul and raw vocal emotiveness carries the band’s sonic disobedience into something far more vulnerable and corporeal.

We were already circling their orbit, but Temptation pulled us straight into the gravitational centre of ZKIN.

Temptation is now available on all major streaming platforms, including Spotify.

Review by Amelia Vandergast

Makaio Huizar – Merry Xmas I Guess: Y2K indie indietronica for the blue-tinged void of Christmas

Posted on 19 December 2025

Tuning into both Y2K indie nostalgia and the sombreness of Christmas that only the most candid admit to, Makaio Huizar strung his heartstrings into Merry Xmas I Guess, a seasonal indietronica confessional that feels like a 3am diary entry under fairy lights while a blue-tinged void quietly opens up inside you. He captures the strain of trying to summon everything you are supposed to feel, including the awkward gratitude for what still remains. The indietronica score is more reverb-drenched synth line strobe lights than Silent Night as Makaio stretches out the musings that surface when you want to disintegrate distance and absence. The diaphanous, choral aura forms an impermeable bubble of isolation around the lyrics, letting you sit with how the season of warmth and connection can feel colder than the months where no one keeps score.

An 18-year-old singer-songwriter from Arizona with roots in Oceanside, California, Huizar has already picked up hundreds of thousands of streams across tracks such as What Am I Waiting For and Town. Growing up as the youngest in a big family in a tough area fed into his instinct to write from the margins, using airy backing vocals and deeply personal lyrics to make other people feel less alone.

For Merry Xmas I Guess, he teamed up with co-producer Vinicius Faina to give his introspection a vintage-hued, frost-on-the-windowpane patina, shaping a Christmas single for anyone who drifts slightly out of phase with enforced cheer and who leans on lo-fi indie melancholy as a pressure valve when the tinsel feels a bit too tight.

Merry Xmas I Guess is now available on all major streaming platforms, including YouTube.

Review by Amelia Vandergast

Havyah hacked rhythmic inertia with the funk-fuelled experimental indie anthem ‘Awake’

Posted on 11 November 2025

Havyah took indie folk down a rhythmic-pulse-bending, uncharted corridor with their riotously experimental debut single, Awake. Visceral vitality runs through the veins of the release, which laces the freeform expression of jazz into the kinetic current of indietronica to construct a track monumentally larger than the sum of its groove-riddled parts. There’s no restraint, no cautious toe-dipping. This is a full-bodied plunge into a euphoric soundscape designed to electrify anything it touches.

If any upcoming UK act is destined to break through on the scale of Lola Young, Sam Fender, or The Last Dinner Party, it’s this trailblazing duo. Awake is the ultimate antidote to jaded inertia; a beat-charged invitation to shake off the sluggish haze of modern dread and live as vicariously as the rhythms demand. It doesn’t ask politely. It compels. With sweetly enlivening vocal inflexions and the ability to bleed syncopated alchemy into the airwaves, Havyah have certified themselves as sonic serotonin-dealers. This track belongs on every indie dancefloor, across the charts, and on loop in your head for the foreseeable.

Formed officially in Mile End in 2020, the British duo of Anthony Kluge and Sam Dennis started their collaboration after meeting at school in Spain in 2003. Their band name nods to the Spanish town of Javea, where their friendship began. Drawing on years of creative synergy, Awake, released on 13th September 2025, delivers a candid reflection on insomnia, where restlessness is transmuted into something life-affirming. Havyah’s forthcoming EP promises to carry that same infectious charge. We’ll be waiting with baited breath, now that we’re officially obsessed.

Awake is now available on all major streaming platforms via this link.

Review by Amelia Vandergast

Myra Keyes Threw Indie Pop into the Fire and Let Foam Rise with Retro-Futuristic Fever

Posted on 10 October 2025

https://open.spotify.com/artist/42CEdwQ3nYwVfLRjyMWqwS

Archetypal indie-pop cuts clearly aren’t sharp enough for Myra Keyes, judging by her seminal single, Foam, which takes the arbitrary parameters of pop and casts them into the inferno of her red-hot, authentically rendered aural blueprint.

The time signatures trip the rhythmic pulse into a state of dizzy reverie as they brush you up against the anatomy of the sticky-sweet, synth-driven earworm. Her vocals, glazed with just enough reverb to keep the hypnosis spellbinding, glide through the mix while the production fuses the aesthetics of Billie Eilish with the retrofuturist shimmer of funk-slicked new wave synth pop. It’s an electrified indietronica detour where the hooks keep swinging and the energy refuses to let up.

Chicago-based Keyes may have only just turned twenty, but her CV already reads like someone who has lived a full artistic lifetime. From her early years as a five-year National Piano Guild member, studying under jazz pianist Grant Richards, recording with Decemberist Jenny Conlee, and performing with Shook Twins and Patti King of the Shins, she’s no stranger to high-calibre collaborators.

Now writing, arranging, and producing her own material after teaching herself bass and guitar, she’s gearing up to release her sophomore LP, Signature Move, on October 24. With Joe Mengis, Scott Weddle, and Scott McPherson lending their talents, the record promises a full spectrum of genre-skewering vignettes.

Foam is now available on all major streaming platforms, including Spotify.

Review by Amelia Vandergast

Tynosario painted inhibition-free psychedelia across disco-funk grooves in ‘Daily Life’

Posted on 5 October 2025

Instead of chasing a place among the pack, Tynosario rejects the mediocrity of aural conformity entirely, not just through the dinosaur mask he wears under his headphones in the video for Daily Life. He is the embodiment of marching to the pulse of his own drum machine, vibing through the polyphonic bliss he conjures with grooves laced in indietronic colour and a magnetic disco-funk signature. The track arrives as an abstract sermon, written between the synth lines, urging listeners to discard inhibitions, shed the shackles of perception, and reimagine their reality in shades entirely their own.

Daily Life unravels like a kaleidoscopic transmission. The rhythms invite you into a space where eccentricity is the law, and the psychedelically wrapped outro serves as a parting ritual, ensuring the experience lingers long after the final note. It is less a song than a hallucinatory ride into the recesses of your own imagination, where the distortion of perspective becomes the very point of clarity.

Since the conception of the Tynosario project, the enigmatic experimentalist has been merging genres with a reckless freedom that refuses to be defined. From choreomania grooves and programmed beats that thunder like storms to mellow passages that float like dream fragments, his sonic world is a vortex where nothing predictable survives. Daily Life is only the latest portal into that surreal continuum, but it solidifies his position as an artist who knows how to transform eccentric spectacle into sound that electrifies both body and psyche.

Daily Life is now available on all major streaming platforms; watch the official music video on YouTube.

Review by Amelia Vandergast

Dead Colours found the indietronica euphoria in slow-burning self-desctruction with their single, Electricity

Posted on 30 September 2025

Sometimes we’re called to the void, other times we’re pulled toward slow-burning self-destruction. For those answering the latter call, Dead Colours offered aural rehab with their latest single, Electricity, while delivering a rush of synth-driven indie-pop euphoria.

The guitars chop and snarl around the already amped-up beats, while the hypnotically mellifluous vocals carry just enough gruff swagger to make the lyrics feel like a cure. Running like the sonic lovechild of a Britpop anthem that chose to flirt with indietronica and warp the bloodlines, Electricity does exactly what the title promises: it charges you up, throwing you into the rough, raw realism of indie rock while keeping you pulsing on a synth-pop high.

Released on French Wives Club on 24 September 2025, the single doubles as a metaphor for the lure of self-destructive habits and the strange comfort they hold. It tracks the push-pull of temptation and release with visceral precision, turning those spiralling urges into something almost transcendent.

UK-based Dead Colours have earned their reputation on high-voltage indie-electronic releases that traverse the space between nostalgia and invention. With a sound that fuses the drama of ‘80s synth-pop with the edge of ‘90s alt-rock, they’ve been building a loyal following with their genre-defying style. Electricity feels like their moment of ignition, one that will connect with anyone who needs their chaos reframed into something they can find their body beat with.

Electricity is now available on all major streaming platforms. Find your preferred way to listen via this link.

Review by Amelia Vandergast

Madishu’s debut LP, Owe It to Her, fires intravenous shots of Indietronic Art Pop serotonin & resillience

Posted on 23 September 2025

We may have forgotten how to just sit with sound, letting it hit us somewhere deeper than the screen-scattered mind. But Madishu’s debut album, Owe It to Her, is exactly the kind of art pop tonic worth surrendering your attention to. Texturally sublime, emotionally fanged, and rhythmically impossible to ignore, it’s an indie electro triumph built for listeners who crave movement and meaning in the same breath.

Through vibrant crescendos and dream pop’s quiescent shimmer used as a spatial anchor, the LP lets resilience flow freely after catharsis. Syncopated beats give your limbs something to follow while Madishu shapeshifts vocally – from smoky and demure, to hyperpop firestarter, to classic pop siren. It’s a 10-track escapade of chameleonic relief.

Her ability to drift from moody indietronica to dubstep-decorated, dance-worthy kinetic beats to artfully ahead-of-the-curve installations of EDM pop proves her tracks are more than earworms; they’re hits of pure synthesised serotonin, delivered with the conviction of soul-prised lyricism. If any track defines her as the phenomenal force she is, it’s Happyish, with Afrobeat hip-hop heat & fervent time signatures that match the energy of vocals that envelop the mix in an aura that words fail to define. The euphonic timbre of the harmonies transcend from the track, washing over you with the fire that sparked the track that rejects a dysfunctional relationship to reclaim autonomy. It will undoubtedly force the hand of a fair few breakups.

Already a rising name in drum and bass, and with releases via Atlantic Records, Soave, and Trap Nation, the Vienna-based artist’s ability to dominate from underground to Tomorrowland is indisputable. Forget Lola Young and her excessive media-forced posturing, Madishu is the real firebranded deal.

Owe It to Her is now available on all major streaming platforms, including Spotify.

Review by Amelia Vandergast

Chris Juarez Sent Chaos Through the Wires of Avant-Garde IDM with ‘CARCK/////UNRIG’NALMIX:’

Posted on 30 July 2025

CARCK/////UNRIG'NALMIX: by Chris Juarez

Chris Juarez throws you headfirst into the chaos with CARCK/////UNRIG’NALMIX:, his latest single before the arrival of his new LP, Solong,suckRs., due on September 25th. After a disorientating influx of synthesised distortion, Juarez begins to reveal his stripes as an avant-garde electronica composer, drawing on the machinations of early industrial pioneers which are melted into a whirling dervish of 8-bit experimentalism.

With nods to the likes of DJ Scotch Egg and Otto Von Shirach, Juarez doesn’t deliver easily digestible aural aesthetics; he’s on an unflinching mission to orchestrate chaos that cages enough visceralism to disjoint your rhythmic pulses, bearing down on them like a juggernaut that is hellbent on bruising you with pure, undiluted escapism. The beauty is there if you’re brave enough to submerge yourself in the eye of the cataclysmic composition of a storm and surrender to the artist’s cultivated yet Machiavellian volition.

Born in Okinawa in 2007 and now based in Mesa, Arizona, Juarez pulls influence from the IDM, progressive electronic, indietronica and post-rock circuits, channelling inspirations from Oneohtrix Point Never, Autechre, and Clark. Each new release marks a push further away from convention and into unexplored territory, and CARCK/////UNRIG’NALMIX: is no exception. Juarez has made a habit of giving electronic music a pulse that feels almost too real for comfort.

CARCK/////UNRIG’NALMIX: is now available on all major streaming platforms, including Bandcamp.

Review by Amelia Vandergast

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