Browsing Tag

NYC Indie Folk

The Secret Radio Drag Dusty Melancholy Through the Surf-Tinted Swell of Alphaville

The secret won’t stay tucked between the cracked folds of memory for long after The Secret Radio let loose their sepia-sweet sonic artefact, Alphaville. It plays like a half-sighed confession from someone who knows that surviving isn’t the same as thriving, and thriving is a luxury rationed out behind closed doors. There’s nothing overtly cynical about the delivery, but the malaise simmers, carried aloft by breezy melodic indie rock that sounds like it soaked too long in the sun alongside a weathered tape deck.

Beginning with the hue of lo-fi college radio rock, the arrangement moves like it was spliced together from faded footage of the early 00s, conjuring nostalgia without force. The transitions are languidly lush and surf-tinged; eventually, the release shifts its gaze towards something more rustic and dust-bitten. Accordions swell in the latter half, grazing against the same delicate disquiet that Neutral Milk Hotel used to tether their eccentricities. But rather than slipping into reverence or pastiche, the construction of the track feels like an unfinished sketch that caught the right light and was left unchanged.

Formed in 2006, The Secret Radio first etched their identity across New York City’s venues, before time, life, and geography pulled them apart. But the songs didn’t scatter. They were stored, archived, reworked, and revived through the lens of the pandemic, led by Damian Fowler, who returned to those dusty recordings with Bebbo and producer Asen Doykin. As they prepare for the release of their debut album, Shortwave, Alphaville sets the tone, nostalgic but not sentimental, sceptical but not sour.

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

Review by Amelia Vandergast

Sepia-Tinged Serenity: GOODTIME’s ‘Damsel Eyes’ Dances Between Tenderness and Nostalgia

GOODTIME

GOODTIME, a rising artist from New York City, affirmed his tonal mastery in his single, ‘Damsel Eyes’. The warmth bleeding from his guitar and the soul carried by his harmonies create a sonic landscape that lands somewhere between Nick Drake and Elliott Smith. He doesn’t just replicate indie folk’s past; he redefines it with a unique blend of traditional acoustic songwriting and atmospheric elements. His ability to seamlessly weave nostalgia with his signature ‘twisted lullabies’ invites listeners into soothing subversion that can easily become a sanctuary.

The haunting crescendos in ‘Damsel Eyes’, paired with the smoky sax lines, pull you deeper into its intimate atmosphere; with a melody akin to Oasis’ ‘Half the World Away’, the song nestles into an emotional place where beauty meets bittersweet reflection. It’s the kind of track that could make anyone misty-eyed, proving that GOODTIME has more than earned his place on the indie folk scene.

After tending to his creative spark as a percussionist at the age of 5, he earned more instrumental stripes at age 15 by self-teaching himself guitar, piano, bass, and banjo. Today, he crafts, produces, and mixes all his work from his home studio. After dedicating himself to his craft, his live performances have earned him a spot alongside artists such as Will Paquin and Dana & Alden, performing at iconic venues like The Bitter End and Mercury Lounge. Yet perceptibly, the best is yet to come for the lyrical lumiary.

Damsel Eyes will be available to stream on all major platforms, including Spotify, from October 25th.

Review by Amelia Vandergast

Susie McCollum – New Year’s Eve: part love song, part soulful indie-folk ode to bitter-sweet tradition

If it isn’t too early for commercial stores to deck their aisles with items that prove we’re in the midst of a consumer-industrial complex, it isn’t too early to pontificate on what will be the staple fixtures on our holiday playlists, especially when the singles are as superlatively resolving as New Year’s Eve from the folk singer-songwriter Susie McCollum.

Part love song, part soulful indie-folk ode to bitter-sweet tradition, the loungey and luxe feel of the NYC singer-songwriter’s debut single allows you to slip into a reflective sanctuary of a soundscape. The gentle piano keys against the minimalist acoustic guitars construct an absorbing platform for McCollum’s endlessly sonorous harmonic notes to drift into as the lyrics go beyond the commodification of the holiday, which, whether we like it or not, forces us to take sentimental stock of the year gone by and anticipate what we’ll be grateful for next year.

However you choose to spend it this year, there isn’t a situation McCollum can’t elevate with her Joni Mitchell, Norah Jones and Janis Ian-esque sound.

Add New Year’s Eve to your Spotify playlists now.

Review by Amelia Vandergast