SumicSo’s latest single, ‘It’s Over’, is a compelling blend of gothic glamour and rock nostalgia, echoing the likes of Siouxsie Sioux, Blondie, Fleetwood Mac, and the Manic Street Preachers. The UK-based musician and songwriter channelled a clarion call for strength and resilience, which will resonate deeply with those who’ve faced the bitter ends of deception and departure.
The track is a masterful fusion of 80s rock aesthetics with 70s rock timbres; the vocals, rich in emotion and power, light a beacon of hope and solidarity, reaching out to listeners who find solace in her message of fighting through pain.
While the production of ‘It’s Over’ might benefit from further refinement, the raw energy and potential of SumicSo as a trailblazing artist are unmistakable. Her lyrical prowess, combined with the strident and rhythmic melodies, ensures that this track is an anthem for those battling their inner demons.
Watch the official music video for It’s Over by heading over to YouTube.
Just when I thought I’d seen every scene in the post-punk landscape, Strange Cities appeared on my radar and shattered my aurally jaded heart with Where Stars Collide from their debut album, Moments Stolen.
With the Interpol-esque angular guitar lines cutting through the warmth in the atmosphere that proves post-punk melancholy doesn’t always need to be monochromatic, the San Francisco-hailing visionaries amalgamated a soulful new trajectory of the genre, giving it a definitive place in the contemporary music industry.
As the palpitatingly sweet melodies in the dynamically sepia-tinged production evoke energy and give you kinetic rhythms to move to, the vocals make no bones about relaying the achingly raw lyricism and inciting bitter-sweet desolation in your soul. Versing about cheating death, watching your friends taking their final breath and seeing their faded faces framed in memories was always going to hit hard, but the impact in Where Stars Collide is a collision you’ll never forget.
Imagine if Editors in their An End Has a Start era hired Marin Hannett as a producer and radiated the hues of New Order’s Temptation, and you’ll get an idea of what Strange Cities constructed in Where Stars Collide. Or, you can get acquainted with the band renowned for their live performance, who have recently opened for Sisters of Mercy and Gene Loves Jezebel.
The Moments Stolen LP was officially released on February 2nd; stream the album on Spotify.
Navigating through the cosmic corridors of sound, Robert Stone’s latest single, ‘Kissing Glass’, is a celestial journey, taken via the route of a harmonious blend of spacey funk and alternative rock, laced with a synth-infused new wave vibe that boldly steps beyond the shadows of Bowie-esque influences, showcasing Stone’s unique musical identity.
Stone, known for his early start in the music scene with Oblivion Grin and his intriguing hiatus, has returned not just to the studio but to the very essence of musical innovation. ‘Kissing Glass’ is a testament to this voyage, a fusion of his seasoned artistry with a fresh, modern sensibility. The track resonates with echoes of the interstellar bliss found in Inspiral Carpets’ ‘Saturn 5’ and the dark, experimental tones of Magazine’s ‘Real Life’, yet it stands firmly on its own artistic ground.
The song’s structure is a labyrinth of auditory pleasure, where each turn reveals a new layer of musical gravitas as Robert Stone’s crooning vocal performance is a revelation in itself. The charm and dedication to being a conduit of space pop-soul is an alchemic pairing which won’t fail to endear you to his experimentalism. We can’t wait to hear what follows.
Fuse the dark decadence of Lydia Lunch, PJ Harvey, and Siouxsie Sioux with the electronic southern gothic beguile of Chelsea Wolfe, Interpol-esque guitar lines and the trip-hop aesthetic of Massive Attack, and you’ll alchemise a sound as scintillating as the atmosphere within Liya Shapiro’s debut single, The Thing, which officially released on December 15.
After a sequence of stabbing synths that could have been torn from a John Carpenter score, post-punk synthetics start to bleed into the hypnotism of the production which leaves discordant effects to linger in the shadows, harbingering a forboding energy, as striking as the avant-garde tones within Glenn Branca’s The Ascension.
Once you’ve torn yourself away from the grip of the instrumental magnetism, you’ll lock into the lyrical poetry as it elucidates the intangible nature of love. By using dark, almost nihilistically macabre, imagery between the sweetly abstract sentiments, dualism drives through the debut from the London-based singer-songwriter, whose lyrical ambiguity opens a labyrinth of corridors in the mind as you attempt to extrapolate meaning.
The abstractions within the poetry also serve to prevent the single from becoming a derivatively paradoxical debut. To speak of the unspeakable and pretend to possess a firm grip of an incomprehensible emotional and spiritual phenomenon would only cheapen the track which pays a true ode to the ephemeral and constantly in flux constructs of love.
We can’t wait to hear what Liya Shapiro has in the pipeline for her sophomore release.
The Light Goes Out is the fourth single to creep out of the darkness of the third album, REINVENTION, from the alt post-punk outfit, Movment. If you have been waiting for humanity’s final curtain to fall in a state of perpetual fear, slip into the enticing ethos of the release which compels you not to sit idly by waiting to surrender to our collective fate.
The engorging atmospherics, pulsating darkwave synths, sirening guitar lines and the commanding assertion in the gravelly post-punk-to-the-bone vocal lines make a compelling argument on why you should live your life undogged by end of days anxiety. Movment reached the pinnacle of cheerful nihilism with The Light Goes Out, which ties into the overarching theme of the LP, which came to life at End of Light Studios in Ireland, as a courtesy of Alex Borwick (mixing), and Jerome Schmitt (mastering).
The Light Goes Out was officially released on November 24; stream the official music video on YouTube.
The REINVENTION LP is now available to stream and purchase via Bandcamp.
Scratch Ticketby Captain Birthday and the Undertaker is an audaciously infectious track that defies conventional rock iconography with its inventive fusion of genres and wildcard thematic lyricism. Just as scratch tickets symbolise unpredictability, this song embodies that same quality through its musical composition. It’s not often that the worlds of gambling and rock n’ roll intersect in such a literal sense, but this duo has taken the challenge head-on, spinning the concept into an auditory spectacle.
From the nostalgia of surf rock to pivots of electrifying rock riffs which cut through the mix, commanding attention with their raw energy to the embracing of atmospheric post-punk tension, Scratch Ticket, from the band’s eponymous debut EP, delivers all that and more to ensure each transition resonates like a new scene in a play; an unveiling of a different mask worn by the same enigmatic character.
At the heart of this song is the chemistry between Jean-Michel Letalon and Andrew Vogts, who are the creative engines behind Captain Birthday and The Undertaker. Letalon, with his rock opera sensibilities and a vocal style reminiscent of the early 2000s New York City rock scene, delivers lyrics with an intriguing blend of drama and nonchalance. Vogts, “The Undertaker,” brings his classical music expertise into the realm of hard rock with electric violin arrangements that add a layer of sophistication to the track.
Scratch Ticket becomes a metaphor for the band’s journey — a gamble on the fusion of their varied influences, betting on the listener’s willingness to embrace the unexpected. The result is a song that’s both a tribute to rock’s past and a bold step into its future.
Stream Scratch Ticket with the rest of Captain Birthday and the Undertaker’s EP via Spotify.
To sear the post-punk genre with their own brand of authenticity, FloatLikeCandy, scuzzed and fuzzed their latest single, The Girl & the Peacemaker up to the nth degree. As the basslines growl, the garage-y guitars swagger and shimmer through the progressions as the drawling with deadpan conviction spoken-word vocals work to ensnare fans of Nick Cave and Swans.
Far from your ordinary allegory, The Girl & the Peacemaker depicts a dark and murky tale of the grim sadness of war, the death of innocence and the gaslighting tendencies of politicians and warmongers as they win public favour as blood spills. With the ongoing conflict in Gaza, The Girl & The Peacemaker is a tragically timely release that signifies the importance of keeping experimental truth-sayers on your radar.
Stream The Girl & the Peacemaker on SoundCloud and follow FloatLikeCandy on Facebook to be the first to know when the rest of the EP drops.
For their sophomore single, Dark Thoughts, the up-and-coming melodic rock trailblazers who came together to forge Forgotten Tides sharpened their instrumental and vocal hooks to ensure no one who becomes witness to the resonant reflections in the lyricism would come away unscathed from their ingenuity.
With atmospheric layers of post-punk draped over the stellar production, there’s a chill in the angular guitar lines, but there’s enough tonal dynamism and soul within the track to keep you warm as you’re enveloped by the compassion extended through the promise that as dark as days get, there will always be someone there to share their light.
From the first hit of Dark Thoughts came the affirmation that my mind will be continually turned back to the cogency and consolation from the alchemically innovative release which ended 2023 on a high note for the Aberdeen-hailing four-piece.
Forgotten Tides said:
“This rocky yet heartfelt song is a poignant reminder for anyone battling the shadows of depression. It gently whispers the comforting truth that, even in the darkest moments, there’s an unwavering circle of friends and family ready to embrace and uplift you. Dive into its soothing melodies and let the warmth of its message envelop your soul.”
Dark Thoughts was officially released on October 24; stream it on Spotify & YouTube.
Hyper dream pop meets palpitatingly paced new wave indie and post-punk in the latest single, Haunt, from one of Indiana’s most prodigal sonic protagonists, Lumen Loraine, who has already garnered millions of streams to date, featured on several editorial Spotify playlists and appeared on Pharrell’s devoutly followed Apple Music Podcast, OTHERtone.
As jarring as it initially seems for those tones to blast past you at warp speed instead of being enveloped in the kaleidoscopic choral and reverb-swathed textures which spill from drawn-out progressions, once you grow accustomed to Cayo Coco’s electrifying frantic energy which efficaciously contextualises the need to outrun your demons, you’ll see that they have exactly what it takes to stand at the vanguard of the evolution of indie.
The official music video for Haunt, which premiered on October 18th is now available to stream on YouTube.
If Iggy Pop is the Passenger, the Oxford singer, songwriter, and instrumentalist Emma Hunter is the driver in her biggest single and battle of conscience to date, Guilty, which hit the airwaves on September 29.
With her artful sonic signature scribed through her Flamenco guitars augmented with a brashy and garagey high-octane post-punk energy that will ensnare fans of Siouxsie Soux and Debbie Harry, this guilt-riddled and demon-parading evolution is a far cry from her former releases which reach the epitome of affectingly arresting.
Hunter’s new-found strident approach to enticing listeners into her conceptually cunning creativity will undoubtedly put her on the right trajectory towards the reverence she’s deserved from the outset. As much as the industry maintains that it favours authenticity and talent, her absence from the charts is a damning testament to their appetite for melodic monotony.