Browsing Tag

Melancholic Pop

Get Caught in the 2010s Indie Afterglow with the Ethereal Oscillations in LORI USAI’s Masterstroke of Melancholia, ‘Wet Denim’

With more style than a cover of Vogue and as a haunting indie callback to that 2010s sweet spot when Warpaint, Poliça, Wolf Alice, Lorde, and London Grammar sat deep in the cultural bloodstream, LORI USAI’s standout single, Wet Denim, hypnotises you into its ethereal oscillations of melancholia. There’s a lived-in emotional intelligence to the way she handles atmosphere, making the track feel less like a throwback and more like a continuation of everything that made that era hit so hard in the first place. Her writing circles what remains when self-deception falls away, when longing, loneliness and obsession are left exposed without anything neat to hide behind.

Even when playing with elements of discordance, the release stays committed to catharsis, keeping the production euphorically lush through its torrid spells of riled-up feeling. The luminous synths and quasi-cosmic indie pop aesthetics temper the romanticism of LORI USAI, who feels fully attuned to the torture of letting emotions run deeper than surface level. There’s heartbreak, but also shame, hope, anger, and that strange state of breaking apart while still feeling feverishly alive.

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

Review by Amelia Vandergast

Gone Beyond the Light tore the wires out of nostalgia to shock alt-pop back to life

Iako Bei and Lu-Banger brought the bruised intimacy of Gone Beyond the Light into existence by pulling a few teeth out of the commercial gloss of pop and replacing them with wires torn from the 90s alt underground. The single traces emotional burnout with a lyrical motif that strikes like the power surge behind a frozen download bar, climbing to 99% before crumbling under the weight of its own promise.

Through a collision of melancholic orchestration, reverberant confessions, sharp falsetto flares and gritted proclamations, Gone Beyond the Light maps the emotional topography of liminality. There’s no false light at the end of the tunnel here, just the dull, aching recognition that transformation rarely arrives in a moment. Instead, it’s clawed out through persistence and pain.

In their fourth collaborative single, the duo gave form to the futility of chasing internal thresholds and finding them always slightly out of reach. Lubomir Ivan (Rare Americans) injected warped grandeur into the production under his moniker Lu-Banger, adding digital textures and strings while letting the rawness of Roman Jakobej’s fretless bass and vocals breathe through the melancholy. Gone Beyond the Light started as a loose concept in 2017, and through years of creative metamorphosis, it has arrived like a ghost that never fully lets go.

Gone Beyond the Light is now available on all major streaming platforms; watch the lyric video on YouTube.

Review by Amelia Vandergast

Sadie Miller turned heartbreak into haunting dream-pop poetry in ‘August’

August may be over for another year, but Sadie Miller’s latest single, August, keeps the season alive like a flickering candle that refuses to go out. From her LA base, Miller has become known for fusing raw confessionals with gauzy dream-pop textures; this performance pushes that sensitivity to its most visceral edge. The track captures the bittersweet ache of transition, the quiet acceptance that everything beautiful carries the seed of its own ending. Her lyricism traces the fault lines of change, evoking that all-too-familiar emotional chill that rolls in when something you thought would last begins to fade.

The poetry in her writing hits like a slow bruise. You can feel the frustration threading through each line as she candidly unpicks the emotional dissonance of falling from the pedestal someone built for you. It’s a quiet kind of rage, one that hums beneath the skin rather than screams from the rafters. Against the haunting pulse of spectral synths and the hazy rhythm of moody indie dream pop beats, her voice lashes with deliberate ferocity, carrying the ache of the narrative with an intimacy that feels almost too close to witness.

Since her 2018 debut, Yours, Miller has built her own world of vulnerability. Through tracks like Pretty Boys, Dangerous, and 21 she mapped the growing pains of coming-of-age with wry honesty. Her 2022 album, Internet, solidified her as a voice for those caught between connection and disconnection, while later singles Puff n Pass, Liar, and Boy Is a Gun explored the messier corners of self-preservation.

In August, she surrenders the armour entirely. It’s less about heartbreak itself and more about the uneasy calm that follows — the moment you realise healing might just mean learning to live with the ache.

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

Review by Amelia Vandergast

Gravity: Millar’s Love-Induced Descent into Dream Pop

With her latest single, Gravity, London-based singer-songwriter Millar has fortified her discography with yet another fearless vignette of introspection. Drenched in raw, unfeigned emotion, Gravity offers a glassy, neon-lit dream-pop soundscape where love becomes a force of nature, pulling you into a spiral of intoxicating vulnerability. Millar’s tender vocal lines swirl in hazy, retro-futuristic synths, creating an irresistible sense of fragility that leaves you feeling exposed to both the sweetness and the inevitable scars of love.

From a young age, Millar began crafting her melancholic sound, first writing songs at 16 before honing her skills at a Stratford music college. It was there, after years of artist development, that she discovered the core of her creative identity, one steeped in the bittersweet duality of love and nostalgia. Her voice carries the weight of these themes effortlessly, with each note steeped in a chilled-out melancholy.

Gravity is a sonic collision of worlds, imagining The Weeknd and First Aid Kit sharing a sonic continuum. The ethereal quality of Millar’s vocal delivery contrasts beautifully with the retro, synth-driven instrumentation; the fragility she conveys is palpable, yet it’s clear that Millar is in control of her artistry. The synaesthesia-inducing blend of lush synths and vulnerable lyrics in Gravity demonstrates that Millar is carving out her own space in dream pop, and if she continues down this path, her success seems as inevitable as gravity itself.

gravity became a new force in the pop scene to be reckoned with on October 4th; stream the single on Spotify now.

Review by Amelia Vandergast

The existential indie dance pop icon Saynt Ego augmented grief in ‘Big Mad World’

The indietronica icon in the making, Saynt Ego, strengthened the foundations that his legacy will undoubtedly rest upon with his double A-side single, Looking 4 U – Big Mad World.

While the vocals sing a bitter-sweet goodbye, the augmented-with-funk melodic lines pull you to transcendence and acceptance in Big Mad World. The chaos of the universe is efficaciously encapsulated in the hypersonic soundscape, and all the assurance you will need that you can overcome any obstacle on your healing journey lingers in the lyricism, which rings with melancholy standing alone. Within the anthemics of the indie dance-pop hit, the candour-fuelled verses are awakening poetry, which alludes to the tragedy of obsession with earthly escapism.

Penned after losing his best friend to suicide, Big Mad World tracks cosmic themes while being underpinned by the grief of knowing that the human experience can’t always be traversed with resilience alone.

Occupying a middle ground between Cigarettes After Sex and ABBA, Saynt Ego found plenty of room to assert his authenticity in the self-produced release, which was written by Will Retherford and the airwaves on September 8th.

Stream Big Mad World on Spotify.

Review by Amelia Vandergast

Melancholic Pop Meets Nordic Soul in Maren Davidsen’s Sophomore Single, Back to You

After garnering over 50k streams on Spotify with her 2021 debut single, Damage Done, the London-based Norwegian singer-songwriter, Maren Davidsen, has returned to the airwaves with her equally as phenomenal indie-pop sophomore single, Back to You.

Any fans of Big Thief, Daughter, and London Grammar will quickly come to be consumed by the toxic tale of love that is narrated through the melancholic-pop-meets-Nordic-soul arrangement and Davidsen’s vocal vulnerability.

The hypnotically harrowing yet hooky all the same single lays bare on the subject of heartbreak following an equally as soul-crushing relationship. For anyone that is still carrying buried relationship trauma, Back to You will hit bruisingly hard.

If you’re as hooked as we are, you’ll want the singer-songwriter and guitarist on your radar for the release of her debut 5-track EP, which will hit the airwaves this summer.

Back to You is now available to stream on all major platforms via this link.

Review by Amelia Vandergast

December Fades pays a stunning tribute to the fallen with “Say Their Names”

December Fades

We all need to slip into a little minor-key melancholy from time to time when we want to be torn away from our own pensive narratives and tune into new ones to find less-odious ways of viewing the world.

December Fades’ latest single Say Their Names does exactly that. It poignantly, poetically and powerfully commemorates the lives of Breonna Taylor and George Floyd while softly, scathingly attacking the injustice which brought about their deaths. It may be a sorrowful single, but it affirms that beauty can bloom from tragedy. December Fades and their darkly soulful approach to Pop is exactly what 2020 needs, a reminder that vengeance doesn’t need to be violent or ugly. Kill them with kindness. Kill them with poetry entwined in melody.

Say Their Names was released on October 23rd, you’ll be able to check it out for yourselves by heading over to the artist’s Spotify.

Review by Amelia Vandergast

Jessamine Barham – Marching On: A Sanity-Preservation Playlist Staple

After the release of her second album, there’s never been a better time to indulge in Jessamine Barham’s captivatingly devastating Alt-Indie Folk Pop sound.

The perfect introduction to her melancholically arrestive style is “Marching On” which compassionately addresses the very real fact that globally, we’re suffering from a loss of faith. Not just in a religious sense, but a loss of faith in our futures, ourselves, our leaders. The list is endless, but, as Jessamine Barham so poignantly alludes in this haunting release, it’s not easy to pull yourself out of a depressive hole, but that doesn’t mean that it is an impossibility for you to see more than just futility.

This track isn’t for the fainthearted. The directness of it may rub some salt in the wound, but just as with that tired old analogy, the salt (track) can heal after it stings.

I don’t make a habit of expressing personal gratitude in my reviews, but Jessamine Barham deserves so much more than fancy adjectives, she deserves recognition for this truly priceless record, for how candidly she approached the lyrics, for how cathartically resolving the soundscape became. So, thank you.

You can check out Marching On by heading over to YouTube.

Review by Amelia Vandergast

Amber Lee reflects our melancholy back at us with “Doubt”

“Doubt” is the recently released compellingly resonant Pop single from up and coming singer-songwriter Amber Lee which perfectly captures the collective mood felt over recent months.

Saying that it is hard to see past doubt may be hard. Easing into this strikingly evocative single and finding a connection definitely isn’t.

Amber Lee’s modern and stylistic take on Neo-Classic Pop complete with sonic synth lines drips with contemporary appeal. If any voice can lead this generation of Pop artist’s, it comes from Amber Lee’s larynx.

You can check out the official video to Doubt which dropped on August 15th for yourselves by heading over to YouTube.

Review by Amelia Vandergast

Pop artist Brianna Marie has released her strikingly atmospheric sophomore single “Losing Friends”

After a successful debut, Brianna Marie has released her striking sophomore single “Losing Friends” which captures the intensity of the emotions felt when friends become strangers.

You’ll find countless lovelorn singles about problematic romantic relationships. Yet, many artists never even think to address the torrid emotions which can manifest when we lose friends. Brianna Marie’s second single is real talk, and I can imagine that many listeners will find plenty of resonance in the moody yet compellingly evocative feat of contemporary Pop.

There is a myriad of arrestingly distinction features in Brianna Marie’s sound. The most tangible is her uniquely resounding vocal approach which amplifies the emotion in the soundscape instead of masking it.

You can check out Brianna Marie’s single Losing Friends via apple music and Spotify.

Review by Amelia Vandergast