The Helmond-born, Amsterdam-based artist Jespfur transfused lashings of uninhibited experimentalism into his latest release, nil. With time signatures as distorted as the instrumental tones that are drenched in reverb and saturation, this latest feat of Avant Garde lo-fi from the multidisciplinary artist carries the expressionism of jazz in the undercurrent of the alt-indie soundscape, which takes the styles popularised by Peace and Jaws before burning the song crafting rulebook and scattering the ashes within this eclectic synthesis of style.
From post-grunge to ambient indie rock to ethereal pop, there’s a smorgasbord of genre styles synthesised into this scintillating score, which resounds with evocative intimacy and stands as a testament to Jespfur’s determination to keep his sound DIY, honest, unpredictable, and elusive.
nil will officially release on October 23; stream it on SoundCloud.
With the artfulness of Radiohead, the arcane beguile of Bjork, the atmospherics of Mogwai, and the elevated ornate grace of Sigur Ros, the standout single, The Miser, from the sonic exploration of an album, Madeleine Moment, by Silverhours is a sensually multi-sensory firestorm of gravitas.
By amalgamating jazz and electronica in an intimately lo-fi production space, The Miser is the epitome of uninhibited expression, orchestrated by an artist enthralled by the geometry of musical rhythms. In full, the LP tracks a story that scarcely leaves any of the visceral emotions by the wayside; they’re all materialised in the juxtapositions between melodies, harmonies and memories to capture the haunting echoes of the past.
After getting kudos from Nick Cave after winning his online covers competition, Silverhours started to pick up traction in their career, leading to the launch of this drenched with evocative ingenuity debut LP. If it’s good enough for Nick Cave, it is good enough for your playlists.
Stream Madeleine Moment in full by heading over to Spotify.
Finding the wavy lo-fi middle ground between Nirvana and Elliott Smith, the latest single, Take Me Home, from the DIY indie originator, Peach Giraffe, is a soporifically sweet visualisation of the desire to be enveloped in the irreplicable comfort of home.
In spite of the succinctness of the instrumental arrangement, led by the definitively 90s indie guitars, the single is underpinned by a precariously resonant state of unease that anyone who has a proclivity towards detachment and disassociation will find themselves connecting to.
After this installation of enticing artfulness and expressive candour from Peach Giraffe, our breath is bated for the next authentically raw hit from the artist who holds little loyalty to genres in his fluid discography, constructed by their desire to create whatever comes to mind with minimal inhibition.
Take Me Home was officially released on July 7th; hear it on Spotify.
Nashville-residing Indie-folk experimentalist, Leah Jean, laid down lo-fi jazz-infused blues in her latest dreamy trip-hop-y single, Stalker, taken from her upcoming debut album, Creatures in the Room.
Muses find us in the strangest places, but Leah Jean’s crept up behind her in this vocally soulful feat of indie Avant Garde, which uses playful subversion to turn her stalker into an almost affable entity that plays into her melancholy-tainted world in intimately fine detail.
With a lyrical narrative that sucks you in as much as the wavy saturated in delay instrumentals that swoonsomely envelop you in their kaleidoscopic colour, Stalker is a meditation in vulnerability and cathartic melody.
Stalker will officially release on October 28th. Hear it on Spotify.
Taken from their hotly anticipated EP, Sometimes, the nostalgically minded and tonally discerning up-and-coming outfit Girl Racers have teased us with the sludgy effect-laden anthem Never Again.
It is authentically indie in the 90s to these ears. Not just the sound but the attitude/aesthetic too. Somewhere between early 90s indie slackers Archers of Loaf and Glasgow Scotland’s noiseniks Urusei Yatsura, Girl Racers found their colourfully garagey sonic signature that is set to scribe itself across indie lovers’ synapses with the first hit of this pessimism-decorated hit.
Never Again will officially release via Bug Dump Records on October 14th. Hear it on Spotify.
‘YOU WERE HERE’ is the latest grungy lo-fi single released by the Swedish alt-indie artist Tim Lukic, which melds the ennui of Nirvana with the melodic style of Grandaddy to provide the soundtrack to the complexity of love and loss.
The rhythmically composited single, influenced by the likes of John Maus, Frank Zappa, and John Frusciante, allows bitter-sweet gratitude to transpire from the world-tilting loss of someone that provided stability in an endlessly giving relationship.
Lyrically, it’s a deeply personal cry into the void left behind, but one that is sure to hit anyone that has experienced loss will resonate with. The sense of loneliness that permeates our psyches artfully echoes in the intricately woven instrumental layers in YOU WERE HERE. It’s an evocative ride, but there’s some comfort to be found in the knowledge that you’re not alone in even the most harrowing emotions.
‘Can’t Take Time’ is the sonorous sophomore release from the Columbia, US-hailing indie artist, Dog Day God (AKA Michael Moore), who has broken away from his indie progressive rock band, Halcyon Fields, to douse the airwaves in warm saturated delay and soulfully crooned vocals.
Mellow isn’t usually an adjective easily affixed to emotion-driven music, but Dog Day God made sure his lo-fi single, Can’t Take Time, broke the mould as much as it will break your heart as the lyrics lull you into imbibing in adequately paced introspection.
Stumbling on this intimate feat of indie almost felt like an act of serendipity, but I think everyone can be accused of yearning for an unrealistic frantic pace when anticipating positive change. For anyone in a transitionary time, hit play.
Can’t Take Time is now available to stream on Spotify.
If you poured some sugar on Pavement or Dinosaur Jr, the result would be just as sweet as the latest single, they will have us, released by Horatio James.
With reflecting the human condition through lo-fi indie folk soundscapes as the motivation behind the singer-songwriter’s creativity, each new release is an opportunity to boost your mood and brighten your perspective. The dopamine streams are aided by the sweeping overdriven guitars, meltingly warm analog tones and his honeyed harmonies, which will teach you the meaning of expressive vulnerability.
The London-based artist is an all too refreshing taste breaker away from the superficiality that is prolific on the airwaves. For the same reason indie fans developed an affinity for the Violent Femmes and the Dandy Warhols, they will have us will leave an all too welcome synaptic imprint.
they will have us will officially release on August 5th. Check it out on SoundCloud.
The up-and-coming alt-indie singer-songwriter, multi-instrumentalist and producer Cade Whitt has recently released his 100% DIY single, Loud Thoughts, which mellowly reaches out to frenzied minds with ample colourful catharsis.
Notably, there are few genres that the 18-year-old artist is unwilling to draw from in his eclectic sound. Around the angular indie guitars that are fed through plenty of echoey tape delay, there are hints of 80s pop, soul, and a smattering of indie-funk to bring the grooves. Cade Whitt’s connectable resolving indie vocals are the cherry on the aural cake, as they work through the consoling lyrics in a semi-lucid fashion; it’s a vibe.
With two EPs under their belt, the up and coming alt-indie sensation, Juliya, has unleashed their fever dream of a high-vibe low-fidelity track. Power Lines is as sonically boundary-less as Sonic Youth and Radiohead, and just as ruggedly sweet as Neutral Milk Hotel and Elliott Smith. And there is plenty of room for their garagey no-wave alchemy in between the reminiscences.
There’s scuzz by the smorgasbord, yet, that doesn’t get in the way of the grip of the angular indie guitar notes atop of all the discord. It may be a short and sweet track, but it’s also a sure-fire hit of serotonin in a sentimentally blissful alt-90s time capsule. With enough tracks in the same vein as Power Lines under their belt and the right attention, there is no reason Juilya couldn’t climb the indie charts with ease. Give them a hand on their ascent and stick them on your radar.
Power Lines is now available to stream on Spotify.