Browsing Tag

Noise Rock

gumdrop’s ‘germinate’ pushes shoegaze past nostalgia into feral alt-rock friction

The last few decades of shoegaze have left us under the impression that reinvention is nearly impossible. Enter gumdrop; the Bristol-based alt-indie rock powerhouse, originally formed in Southampton, who know exactly how to create the most visceral friction through chilly avant-garde post-punk elements, fuzzy feral 90s riot grrrl energy and crushing, all-consuming, oceanically hazy distortion.

Their latest single, germinate, builds walls of sound beyond nostalgia’s easy cosplay, using contemporary angst and echoes of ingenuity in instrumentals that refuse inhibition. The guitars stargaze while still sounding ready to bite, the basslines carry an ice-cold charge of grooved volatility, and the industrial-leaning synth melodies give the track a strange metallic bloom. Underneath it all, the drums punch through with enough physical force to keep the haze from swallowing itself whole.

Fans of My Bloody Valentine, Slowdive, Sonic Youth and Bikini Kill should find plenty to lose themselves in here, but gumdrop’s appeal sits in the way they drag those reference points into catharsis in its rawest form. The band isn’t making music like they used to, and that is exactly the point.

If authenticity guaranteed success, there would be no accolade out of gumdrop’s grasp. As intrepid explorers of intersections that few bands have the vision to explore, they suck you straight into their catatonic orbit.

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

Review by Amelia Vandergast

Snailosaur Uses Sardonic Slacker Wooziness to Kick Up Sludgy Indie Gold in Soccer Ball Song 

Snailosaur paved over the eccentrically sardonic sonic signature of Pavement within Soccer Ball Song, a sludgy slacker jam that gives indie fans the kind of kick that only outlier anthems in the vein of Nada Surf’s Popular can deliver. Built around New York City songwriter Paul Dean and his collaborators, Snailosaur pulls together ‘90s-tinged indie guitar poetry with alt-rock abrasion, noise-rock scrapes, shoegaze fog and spoken-word candour. That mix lands with proper character here. From the crunched guitar distortion to the wooziness of the production to the drawl that instantly lets Snailosaur nestle up next to you as your new favourite cynical acquaintance with a soul of gold, Soccer Ball Song is delicious.

It’s hook-rich, not in the way of tracks angling for a superficial dopamine jab, but in the way that delivers the ultimate intravenous shot of indie kid sticky-sweet with romantic-in-spite-of-ennui serendipity. The song carries scuffed charm and a loose-limbed magnetism that keeps everything authentically askew.

Following the 2024 release of the full-length Talk Therapy and a steady run of singles, Snailosaur have kept shaping their sound in New York and Brooklyn dive bars and rock clubs. Soccer Ball Song feels like another sharp hit from that world, one that we can all grab a grimy barstool and experience.

Soccer Ball Song is now available on all major streaming platforms, including Spotify. 

Review by Amelia Vandergast

DREГKΣ – Fucked: a no-wave hardcore collision of vehemence, retaliation and unfiltered cultural rage

Fucked by DREΓΚΣ

Glasgow’s own DREГKΣ tore through the alt landscape with their latest single, Fucked, a release that splinters aggression into avant-garde expression with a vindicating force. In a world where atrocities unfold in real time and generations are left scarred beyond rhyme or reason, the track arrives like a lit match dropped into a powder keg. If you’ve been searching for a sound that mirrors the fury you feel whenever you think about what is tearing through Palestine, this caustically adrenalising expulsion of noise and truth gives you a place to set that anger down and let it live at full volume.

Through vehemence sharpened by the spirit of early hardcore punk pioneers, DREГKΣ amplify the true meaning of retaliation. Distortions of African rhythms bleed into the percussion while a cascade of experimental motifs yanks you outside your comfort zone. Over that vortex of no-wave noise, the vocals blaze with a kind of scorched urgency that refuses to let your mind settle. There’s nothing tidy here, nothing softened; it’s raw cultural grief translated into soundwaves, delivered with the unrelenting drive of a band who’ve built their following in Glasgow’s underground by tearing open any room they play.

Formed by a collective of immigrant musicians fronted by Greek polymath Mano Paneras, DREГKΣ channels punk rock, post-rock, shoegaze and math-rock into a feverish, politically charged chaos that feels painfully relevant to the mid-2020s. After building on the buzz of their debut Trans World War and opening for Scottish punk veterans The Zips, they’ve now delivered one of 2025’s most visceral tracks, and it deserves to be heard worldwide.

Fucked is now available on all major streaming platforms, including Bandcamp. 

Review by Amelia Vandergast

ANIMAL FEARS delivered philosophy through aural brutality in their noise punk juggernaut, Here Fear

ANIMAL FEARS come out swinging on Here Fear, a single that treats anxiety as something physical, something you can feel scrape along your ribs. The Berlin-based band take the philosophical idea that we’re all beasts with burden, and they snarl straight through it. The track drags existential dread from the shared subconscious and sets it loose inside a synthesis of indie, noise, no-wave and post-punk that feels confrontational, and fiercely awake.

Here Fear moves with immersive theatrics that pull you into its strange little world fast. The absurdist stomp recalls Green Jello’s unhinged spirit, while the sheer physical drive mirrors the primal force of Oh Sees and the frostbitten tension of post-punk’s avant-garde edge. ANIMAL FEARS channel that energy into razor-sharp strokes of sound, stacking heavy-as-a-juggernaut’s-fist instrumentation into a clattering surge of intent. The noise feels purposeful, almost visual, like something rattling behind the eyes rather than blasting from a stage.

What makes the track hit harder lies in its emotional clarity. The band convert unease into motion, letting dissonance tip into release and vulnerability howl rather than whisper. Vocals cut through with a raw urgency, circling themes of alienation, pressure, and modern anxiety without softening the impact. There’s momentum, a sense of shared conviction, and a live-wire unpredictability that speaks to an underground mindset built on tension and atmosphere rather than neat resolution.

Here Fear is now available on all major streaming platforms, including SoundCloud. 

Review by Amelia Vandergast

SECRET clawed into the canon of riotous no-wave noise rock with ‘Igor’

SECRET’s standout single, Igor, taken from their debut LP, Weapon of Choice, is boisterous enough to bruise the annals of Riot Grrrl. The short and snarlingly sweet track lets the basslines roll into the tumult of crashing cymbals, as distortion bleeds into no-wave territory through guitars that whip and wail around the vox, which fans of Veruca Salt, Jack Off Jill, and Le Tigre will instantly be adrenalised by.

Adopting the playful valley girl electricity of Kathleen Hanna while keeping their sonic signature in their own kinetic calligraphy, the rise of SECRET feels inevitable; their sound is indomitable, and their energy crackles with uncontainable bite.

Formed in New York City, the trio — Leo Haas, Aadil Mufti, and Yas Saito — channel punk, noise, and old-school rock and roll into a self-contained storm. Their debut album, Weapon of Choice, uses storybook and fantasy elements to narrate short, volatile tales, backed by daydreamy noise rock and charged-up punk urgency. Igor captures that ethos perfectly.

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

Review by Amelia Vandergast

Glasgow Television: RINGARDS’ scuzzed riot between alt-punk performance and pandemonium

If you like music to bruise when it hits, you won’t be reaching for the remote to switch the channel with the hypersonically scuzzed alt-punk single, Glasgow Television, from RINGARDS.

For anyone sick of the posturing of IDLES and the insinuation that Yungblud represents the future of alternative music, Glasgow Television hits like a knuckled rebuke. The track howls with barbed visceralism, the kind that leaves you feeling slightly unclean for listening; it’s the kind of filth that feels alive. You can almost sense the floor of a basement venue vibrating beneath you, beer-sticky and sweat-drenched, as your brain takes a pounding from the bruising barrage of distorted guitars and punch-drunk percussion. RINGARDS hit the perfect equilibrium between sardonically deadpan and chaotically unhinged, as Enzo’s vocals detonate through the monolithic instrumentals with venomous swagger.

Sitting somewhere in the static between alt-rock and post-punk, where art punk flickers and indie rock still draws breath, RINGARDS’ sound is both a callback and a confrontation. Their live shows have earned them a reputation for performance verging on pandemonium, and with their debut album already recorded, they’re poised to unleash their snarled sermons on a wider scale.

The French-born frontman Enzo, once a production fixer in LA, jamming with Irish bassist Gary after a fateful “Join My Band” post quickly spiralled into something more ungovernable when Jasper, Noah, Will, and Albi joined the fold, each dragging a different shade of chaos into the sound.

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

Review by Amelia Vandergast

Wastrels Summoned Shoegazing Post-Rock Spirits in ‘Devil Built a Home Where You Once Prayed’

Through deliciously dark oscillations of distortion and cinematically psychedelic conjurings of harbingering post-rock, Wastrels held the ultimate sonic séance with Devil Built a Home Where You Once Prayed. With a tonal palette capable of striking deep into the serrated souls of fans of the Horrors and Echo and the Bunnymen, this release proves that Wastrels know exactly how to use texture to pull listeners into their world. What they conjure here is a pit of melancholic reckoning, built from shoegaze-soaked walls of noise and basslines that lurch like spectres. Even the title feels like a warning etched into stone, and the soundscape signs and seals their metaphysical vision into your psyche in a way that will haunt you long after the last note collapses into static.

After six years away from the studio, the Minneapolis shoegaze and dreampop outfit has returned sharper than ever, following up their 2019 debut LP Dangerous Summer with the double A-side single Bell Jar / Devil Built a Home Where You Once Prayed, ahead of their forthcoming full-length album due this autumn.

With Dan Schulte-Sasse’s phantasmal vocal presence riding over Rich Norris’ keys and guitars, anchored by Sahil Merchant’s bass and Ben Mulhern’s percussion, Wastrels have created their most unflinching work to date.

Devil Built a Home Where You Once Prayed is now available on all major streaming platforms, including YouTube. 

Review by Amelia Vandergast

Insomnia – Fleabag: Demonically Distorted No-Wave Grunge

Insomnia’s latest onslaught, ‘Fleabag’, is a ferocious synthesis of no-wave grunge and unrelenting hardcore punk rhythms. The standout on their LP ‘Idiosyncrasy‘, is a caustic celebration of noise, embodying the spirit of grunge pioneers with a fresh, chaotic twist. The guitars screech with electrifying distortion, while hardcore punk drums thrash out a beat that pummels listeners into submission, offering no respite from the band’s sonic fury.

In the eye of this storm are the vocals—raw, unfiltered, and dripping with disdain, they transmit a message of ‘we’re all mad here’ vindication for anyone wrestling with the chaos of the human psyche.

Undeniably, Insomnia, hailing from San Diego, has mastered the art of avant-garde obscurity. With the cultivated approach of Glenn Branca’s compositions fused with the brashy energy of Napalm Death, the breakthrough band injects listenability into their sound while ensuring their deliverances of no-wave are unfeigned, unfiltered and unafraid to descend into the sonic abyss. Imagine what Pavement would sound like if they were demonically possessed and you’ll get an idea of what is in store when you hit play.

Stream the Idiosyncrasy LP in full by heading over to Spotify.

Review by Amelia Vandergast

Atlanta duo, Piece, caused a new wave of noise rock to crash in with their debut EP

While some alternative acts can be accused of compromising on substance for an edge, the Atlanta-based duo Piece is far from guilty of this sonic sin in their latest single, star cunt.

The second single, taken from their debut EP, Piece Be with You, carved through the airwaves with the no-wave buzz saw riffs and revolutionary punk-rock attitude, which blew the dust off the mohawk-littered scene. Taking the foundations laid down by Sonic Youth and other noise rock pioneers, the off-kilter energy in star cunt is scintillatingly gloomy to the last distorted note.

Tayler Lee and Ty Varesi’s rebellious synergy has seen them become well-known on the Atlanta touring circuit. After the release of their EP, which would do Kathleen Hanna proud with the riotous proclamative vocals, their time to reign internationally supreme is now.

star cunt is now available to stream on Spotify.

Review by Amelia Vandergast

Lucas Kurmis – I Thought I Died: Alluringly Dark Avant-Garde

Lucas Kurmis

‘I Thought I Died’ is the forthcoming Avant-Garde Noise Folk Punk single from Plymouth-based artist Lucas Kurmis. It makes Sonic Youth sound tame.

It feels like somewhere along the way everyone forgot that art should comfort the disturbed and disturb the comfortable, everyone apart from Lucas Kurmis. I Thought I Died is confrontational, abrasive, and utterly transfixing. The snarled spoken word vocals float over sporadic drum pounding and cymbal smashing, pulling the mix together is a sparse smattering of reverby electronic effect which nicely completes the minimalistic yet monumentally resounding single.

You’ll have to wait a little longer before you can check out I Thought I Died for yourselves. In the meantime, head over to SoundCloud to delve into their earlier releases.

Review by Amelia Vandergast