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The term ‘indie’ in the music industry has become so ambiguous it has practically become as subjective as the meaning of life. Whichever way it is defined, it is still a massive part of the music industry in the UK and across the globe.

Originally, indie referred to how an artist distributed their music. Over the decades, it became a catch-all term for artists sharing the same sonic off-kilter edge; and, of course, the same moody yet inexplicably cool aesthetic. Indie, as a genre, only came around as the result of experimental artists in the 70s wanting to bring a new sound to the airwaves; instead of solely hoping for commercial success after appeasing one of the major record labels.

Indie artists adopted punk ethos they started to push the boundaries of pop. Instead of commercialising their sound, they pushed it into post-punk, shoegaze, synthpop, Britpop, avant-garde, noise rock and dream pop arenas. For all that separates bands such as Sonic Youth, the Cure, The Smiths, The Stone Roses, Joy Division, Elliott Smith and Radiohead, there is still so much that ties them together, namely their attitudes and the loud discordant style.

Along with the bands, iconic venues such as the 100 Club in London, the Hacienda in Manchester, and King Tut’s Wah Wah Hut in Glasgow had a pivotal part to play in the traction of independent artists and music. New Indie labels, such as Rough Trade and Factory Records, were amongst the first record labels to truly embrace and encourage experimentalism and authenticity in the artists they scouted and signed – taking New Order and Joy Division as a prime example.

It may have been a while since there was an indie breakthrough act as successful as the Arctic Monkeys, but indie music has far from lost its resonance. Besides, Monkeys won over 42 awards and sold over 20 million records, so that’s going to take some beating, and they’re certainly not the only indie artists currently thriving.

The Welsh indie rock icons, the Manic Street Preachers, celebrated their first number 1 album in 23 years with the release of Ultra Vivid Lament in 2021. The Tarantino-Esque Liverpool outfit, Red Rum Club, released their debut album in 2019, and got to number 14 in the official album sales chart with their album, How to Steal the World, in 2021. Perhaps most impressively, the world’s first CryptoPunk rapper, Spottie Wifi, made just under $200k in album NFT sales in 90 seconds this year.

A Crystalline Cathedral of Sound: The Sleepless Elite’s ‘Glass’ Reimagines Heartbreak

From humble beginnings in Boston to renown as indie pop royalty, The Sleepless Elite has carved out a niche where sincerity and ethereal soundscapes coexist in haunting harmony.

Listening to the arcane harmonies in their latest single, Glass, glide against the intricately evocative melodies, it is easy to understand their rapid ascent. The euphonically crystalline production wraps an arcane aura around powerhouse vocal lines, which bleed unadulterated emotion into a release that deftly weaves together the most affecting elements of Fleetwood Mac, Kate Bush, London Grammar, and Enya.

It’s a phenomenal score that will linger long after the final artfully poised note and practically a spiritual awakening in sound form. Forget art pop; this is haute couture heartbreak.

The project originated when Carolina Kehoe met Baylor Carter at Berklee and found its feet when, via a Craigslist ad, the duo ended up living with Ben Deily of the Lemonheads, which set their creative spark alight. Encouraged to pursue their own style, Carolina and Baylor honed their unique sound, inspired by Paramore, Blondie, and Sia, and drawing from their collective love of Blink-182, The Strokes, and No Doubt.

With Carolina’s theatrical roots and Baylor’s indie-punk edge, they created a distinct sonic palette, first heard under the name Carolina’s War. Now, as The Sleepless Elite, they’ve found their stride, producing two albums and opening for Thunderpussy. Glass epitomises their evolution, offering an otherworldly catharsis that showcases their innovative, emotional storytelling. For fans of alternative music, this is a siren song worth answering.

Check out the official music video for Glass, which has already racked up 15k streams, on YouTube.

Review by Amelia Vandergast

Wading Through the In-Between: The Dilettante’s ‘Someone’ Bleeds Melancholy with Avant-Garde Soul

The Life and Times of.... by The Dilettante

The Dilettante, the enigmatic persona of David Hirst, has delivered a stunningly emotive sonic exploration with his debut LP, The Life and Times of….

The album’s standout single, Someone, traverses the turbulent undercurrent of indie folk melancholy, aching with the raw vulnerability that echoes the likes of Frightened Rabbit. The gentle intro sets a melancholic tone that bristles with candour before distorted and synthesised vocal harmonies flood in. This off-kilter twist weaves a sense of dissonance through the track, establishing The Dilettante as a veritable troubadour of avant-garde indie.

There’s immense comfort to be found in the chord progressions of Someone, which gives permission to embrace the full force of your emotions, if only for 4:55 minutes before you slip back under the ‘I’m fine’ façade.

With ‘Someone’, The Dilettante invites listeners into the most introspective corridors of his existential psyche, a space where anxiety, self-doubt, and the quiet battle for self-acceptance reign supreme.

The Life and Times of…. is not a record of extremes but of the struggle to navigate life’s liminal spaces where outliers emotionally linger. If you constantly find yourselves on the fringes, don’t hesitate to hit play.

Stream and download the debut LP from The Dilettante on Bandcamp now.

Review by Amelia Vandergast

Kaitlin Cassady unveiled a kaleidoscope of indie folk reverie with ‘Unconditionally’

Kaitlin Cassady’s seminal indie-folk single ‘Unconditionally’ from her debut LP, Home Away From Home strikes an intimate chord with its dreamy, lo-fi reverie.

Hit play and prepare to be swept up within the euphonic breeze of the mellifluous acoustic guitar strings, which seamlessly harmonise with vocals that echo the 90s indie pop ethos. The track reaches even further back in time by integrating 70s-esque pop-rock piano keys that lend endlessly ascending melodies to the all-encompassing production. It’s a sonic kryptonite for the diehard romantics who refuse to buy into the claims that romance is dead. Despite its bedroom pop aesthetic, this track could effortlessly soundtrack a Hollywood epic, showcasing Cassady’s humble yet world-class songwriting chops.

Hailing from Minneapolis, indie-folk-rock artist Kaitlin Cassady draws from a kaleidoscope of influences such as Aimee Mann, Carole King, and Elliott Smith, to contemporary icons like Billie Eilish and Coldplay. Cassady’s music—rich with introspective lyrics, lush harmonies, and intricate arrangements—captures themes of love, loss, and resilience.

Her latest self-recorded project, Home Away From Home, marks a major stride in her burgeoning career. We can’t wait to see what follows.

Stream Kaitlin Cassady’s debut album in full via Spotify.

Review by Amelia Vandergast

Karyn Ann became a conduit of justice in her soul-swathed, vintage-hued hit, Big Money, Deep Pockets

Karyn Ann’s latest single, Big Money, Deep Pockets, charts a new path in protest music, one that is paved with honeyed harmonic soul. In an era screaming for transformation, the Portland-based singer-songwriter found herself at the frontline of the resistance against exploitation.

Known for her distinctive cocktail of soulful Americana and perception-shifting lyricism, Karyn Ann set the bar high with her former releases but by channelling the spirit of vintage grooves into Big Money, Deep Pockets, she delivered the revolution we never knew we needed. Ann’s voice, rich with Patty Griffin’s earthiness and the haunting elegance reminiscent of Amy Winehouse, cut through the noise of today’s tumultuous climate.

Since her debut, she has become a notable figure in the Pacific Northwest, gracing stages at prominent venues like McMenamins Crystal Ballroom and festivals from the Rocky Mountain Folks Festival to Portland’s own annual Folk Festival.

In her own words, Ann describes that Big Money, Deep Pockets is as much a modern-day anthem as it is a scathing critique of our times, addressing the pressing issues of climate change, social inequality, and a cry for justice. Transcending the echoes of the frustrations of a polarised society; it seeks to be a catalyst for change.

In a world of fleeting trends and ephemeral interests, Karyn Ann is a timeless icon in the rough.

Big Money, Deep Pockets was officially released on September 9th and is now available to stream on Spotify.

Review by Amelia Vandergast

Emerge from your naval daze with Phantom Electric’s acoustic rock symphony, ‘Hope So’

The quasi-psychedelic indie singer-songwriter Phantom Electric may have innovation running deep in the veins that connect to the heart he wears on his guitar strings, but his latest single, Hope So, revisits classic song crafting, allowing the thematic underpinnings of the release to draw you into the artful gravity of the single.

Hope So is a haunting intersection between the atmospherically nostalgic air of Chris Isaak and the soul of Bryan Adams; the Adams influence tempers the dark melancholic chill of the lyrics which are slick with existential yearning.

Hope So unfurls as an artful reflection on how easy it is to succumb to navel-gazing and forget to care about anything but yourself—a theme all too relevant in our era of rampant individualism. With spectrally arcane melodies that tear through the soul, Phantom Electric produced one of his most affecting singles to date by looking to the darkest side of the human condition and showing a better way to be.

Hope So will be available to stream on all major platforms from September 27; stream the single on SoundCloud first and head over to Phantom Electric’s official website for more ways to listen.

Review by Amelia Vandergast

Sugar the pill with The Elegant Chasers’ aural antidote to modernity, My Medicine

Rock has known many guises throughout the decades; plenty of them can be revelled in with The Elegant Chasers’ latest intensely affecting track, My Medicine. By fusing the soaring soul of Journey, the brashy grit of 90s Britpop, Slash-reminiscent guitar work, and hints of hard rock to augment the rhythmically chameleonic hit to the nth degree, alt-rock’s most debonair solo artist delivered a triumphant tour de force with My Medicine.

Featuring Lloyd Pritchard on skins, the self-recorded and produced release, which was spawned Rembrandt Rooms, Hersham, Surrey, hits a raw nerve towards the outro to deliver an exposition on the plaintive reality of living as a struggling artist in an epoch which only favours legacy artists and novelty, giving listeners plenty to think about, if they can tear their minds away from the Oasis reunion hype.

My Medicine will be prescribed on September 27; sugar the pill of modernity by streaming the single on SoundCloud and Bandcamp.

Review by Amelia Vandergast

Ian Arthur – Home (Goodbye with Grace): An Indie Psych Pop Lesson in Letting Go with Love

Ian Arthur

Ian Arthur’s seminal single, Home (Goodbye with Grace), is a poignant reflection on how goodbyes can either fuel bitterness or allow space for grace and gratitude. Instead of allowing pain and resentment to caustically consume, Arthur advocates for cherishing the warmth of someone you once called home, offering a soul-stirring lesson on love, loss, and emotional resilience.

The tenderness in Arthur’s lyricism is echoed in his vocal delivery, reminiscent of Keane and Badly Drawn Boy, as he channels a vulnerability that makes every word resonate with sustained soul. Meanwhile, the psych-pop melodies work their way through the soundscape, painting rays of colour into the darker moments of grief. In finding the equilibrium between heartbreak and hope, Ian Arthur ensured the emotional complexity of the track is never one-dimensional.

With sincerity threaded through the indie psych-pop progressions, Arthur encapsulates the weight of loss without letting it overwhelm the listener. Instead, the orchestral crescendos sweep through the track with an almost seraphic lightness, offering catharsis rather than sorrow. Don’t be surprised if you end up shedding a tear over the pull of the Beatles-reminiscent orchestral strings which are powerful enough to break the dam on your emotional floodgates.

Home (Goodbye with Grace) will hit all major streaming platforms on September 26.

Find your preferred way to listen via Ian Arthur’s official website or connect with the artist on Instagram.

Review by Amelia Vandergast

Confront the introspective abyss with Locian’s kinetic darkwave art-rock release, Shadow on the Wall

Dance with the darkness within to the tempo of Locian’s most affectingly kinetic electronic art-rock release yet, Shadow on the Wall. The rhythmically augmented earworm from Australia’s most introspective solo artist is so much more than just a sonic drop into the oversaturated airwaves. It intensifies the anticipation for Locian’s forthcoming LP, Fears, Reflections & Shades of Time, as the solo artist continues to define his distinctive electronic rock style, weaving his signature synthesis into the rhythmically charged compositions of philosophical reckoning.

Emotionally charged revelations about facing the hidden aspects of one’s identity diaphanously drift through the installation of dark etherealism as the track’s pulsating synths and sharply defined guitar lines inject a vibrant, high-energy feel into the release which offers a scintillating study in contrasts. It juxtaposes the vulnerability inherent in introspection with the robust instrumental forces that symbolise the tumultuous battle against inner demons.

Originally envisioned as two separate pieces, Shadow on the Wall evolved into a unified narrative that advocates the importance of acknowledging and embracing one’s darker sides. After winning audiences across Sydney and Melbourne over with the single, the core message is set to enlighten the darkwave domain while setting a high bar for cerebral lyricism.

Shadow on the Wall was officially released on September 13; stream the single on all major platforms, including SoundCloud.

Review by Amelia Vandergast

Fuar became the airwaves’ new favourite folk-punk raconteur with ‘Ladies Night’

In his latest single, Ladies Night, Belfast’s Fuar arrived with the swagger of a seasoned raconteur and the fervour of a folk-punk revolution, stirring the still airwaves into a riotous frenzy. Here is a single that marries the cheeky charm of Irish folk with the electric buzz of college radio rock, a sound nostalgically nodding to R.E.M.’s sticky-sweet hooks yet boldly staking its own claim in the folk domain.

Fuar melded the quintessential tones of traditional acoustic folk instrumentation with punk’s refusal to harmonise with convention, creating an atmosphere thick with euphoria. The charismatically magnetic vocals turn every syllable in the lyricism into a call to arms for those weary of the beige and the mundane in the folk scene.

The singer-songwriter may have only started to write his legacy with his recorded material, but if Ladies Night is anything to go by, his saga will be etched into the annals of folk before long. Having leapt into the recording scene in 2024, he’s quickly amassed a following enchanted by his panorama-painting lyricism and his earmilk-pouring progressions. With over 100 spins spanning from Amazing Radio to Radio New York, and echoes of acclaim reverberating through the blogosphere, Fuar has ensured his journey isn’t just one to watch—it’s one to be part of.

Ladies Night was officially released on September 10th and is now available to stream on Spotify.

Review by Amelia Vandergast

JANAYAH balanced power and vulnerability in her neo-classic pop ballad, Back to You

After JANAYAH stormed our radar with her single, ‘Can’t Get Enough,’ we knew she had her forte in high-octane pop earworms. With her latest release, ‘Back to You,’ she defied all expectations while straying from the trend of breathy, emotionally void pop ballads. This stripped-back outpour of candour sees JANAYAH laying her soul bare over near-frantic, intricately sharp neo-classical piano keys that skilfully underscore her powerhouse vocals.

The achingly sublime track explores the turmoil of trying to emotionally disconnect from a relationship once it has ended, while the mind, in its relentless tenacity, continues to chart paths back ‘home’, even when the door is firmly closed.

With roots in Auckland, New Zealand, and a growing career in London, JANAYAH has shown her versatility across multiple genres, from pop and rock to dance and DnB. Her latest single is a stark departure from her previous work, such as the EDM-infused ‘Remedy’ and the dancefloor-driven ‘Nothing To Lose’. ‘Back to You’ serves as a testament to her vocal power and ability to channel raw emotion into her music.

Currently working on her debut EP, JANAYAH is undoubtedly on a trajectory to becoming a household name. Her powerful live performances and ability to connect with audiences have already earned her significant acclaim, including features on the iconic Piccadilly Lights and a recent set at Trafalgar Square. If ‘Back to You’ is anything to go by, we can expect her forthcoming releases to be just as phenomenal.

Back to You was officially released on August 30th; stream the single on Spotify.

Review by Amelia Vandergast