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Alternative

Excavate yourself away from anxiety with Jennifer Jess’ alt-pop tour de force, Evergreen

After hitting the 1 million Spotify streams mark with her debut single, Blue, in 2019 and building a loyal 18,000+-strong fanbase, Jennifer Jess has always been dangerous to underestimate. Yet, there was no anticipating what the Atlanta singer, songwriter and producer would bring with her latest single, Evergreen, which digs deep into how fear is the ultimate inhibitor, especially when it plasters a façade on our authenticity and locks us into the stagnation of paralysis.

The lyrical centrepiece, “I’ve been afraid before but more afraid of fear itself”, is all the more resounding when projected through the visceral soul of Jennifer Jess’ striking delivery which cuts as sharp as the orchestral strings which quiver over the dark and moody electronica aesthetic which sonically visualises the metaphorical storm Jess is breaking free from.

Strident, striking and artfully intense, Evergreen is far more than an aurally powerful alt-pop release; it forces you to accept that no one can help you break away from fear or keep your dog in the fight for you. The hurricane force of the production is formidable enough to convince you to create a defining point in your reality by excavating yourself away from anxiety, and that is exactly why Jess has a legion of fans behind her.

Evergreen will be available to stream on all platforms, including SoundCloud, from May 17th.

Discover more ways to connect with Jennifer Jess through her official website.

Review by Amelia Vandergast

The rhythms rolled hot and heavy in PRES3T’s latest pop hit, Love Me Like That

Love Me Like That is the latest hot and heavy pop hit from the up-and-coming visionary, PRES3T, who has been working his way through the industry ranks from a young age and now has a safe foothold to serve as a platform for his stylistically rich rap-adjacent hits.

The solid backbeat kicks intently through the moody atmosphere of the modernised wavy-with-reverb production that throws back to 90s pop aesthetics while simultaneously envisioning the future of the pop genre. If you couldn’t get enough of the taste of Ed Sheeran’s Are You Entertained or Lil Nas X’s DON’T WANT IT, you’ll be obsessed with the flavour in Love Me Like That.

Thailand-born singer, songwriter, recording artist and producer PRES3T delivered his debut LP from his home studio at the age of 16 before receiving national radio airplay and attending the Clive Davis Department of Recorded Music at New York University’s Tisch School of the Arts.

Before working on his new material, which is steadily waterfalling onto the airwaves, PRES3T cut his teeth working on projects with tens of millions of streams on Spotify alone. We have no doubt he has exactly what it takes to achieve the same in his solo career.

Stream Love Me Like That on SoundCloud.

Review by Amelia Vandergast

Awakening to Bella Gate: ‘Sleepwalking’ Melds Classic and Contemporary with Masterful Artistry

If you’re still sleeping on the breakthrough UK singer-songwriter, Bella Gate, her revolutionary approach to power balladry exhibited in her latest single, Sleepwalking, will prise your heart and soul open to her immensely affecting artistry.

The classic songwriting style is enough to slip you back into the 70s before the Florence and the Machine artful touches pull you right back to modernity as Bella Gate’s vocals channel the spirituality of Stevie Nicks and the deep resonant timbre of Adele, with all the emotive authenticity to boot.

While looking back on chapters of teenage love and self-discovery, most will shudder at the naivety; Bella Gate is viscerally living through the torment within Sleepwalking; vicariously join her as the pop-rock piano keys dance beneath her endlessly ascending vocal register as they spill the agony in a retrospective call for clarity.

With plenty more singles in the pipeline for 2024, the 23-year-old Edinburgh/London residing artist is more than worth a spot on your radar. If she’s esteemed enough to have her debut LP mastered at Abbey Road Studios by Geoff Pesche, she, and her talent in bringing a fresh and innovative vibe to the industry, is one to watch.

Sleepwalking was officially released on April 26th; stream the single on Spotify now.

Review by Amelia Vandergast

J fired shots in his arcane parody pop-rock hymn, Our Men

Satirically blasphemous shots were fired at the military-industrial complex and the absurdity of piety in the latest single, Our Men, from one of the UK’s most enigmatic originators, J.

Having already witnessed J through his single Shame on You, we knew to expect a certain degree of endearing obscurity in this single, described as a stimulation of humour, intellect, emotion, body and soul, yet the one-man powerhouse exceeded all expectations in the spacey chorally psychedelic pop-rock hit that simultaneously gives Jonathan Pie, Prince and The Beatles a run for their money.

The cleverly meta single delivers intricate layers of depth that stack up to stand as a monolithic testament to J’s ingenuity. Not one to throw himself into expositions half-heartedly, Our Men cracks open the psyche of a warped military captain turned priest with a penchant for invasion and occupation. The parallels of tyrannical control were always there, it just took an audaciously bold artist to create a sonic boardwalk between them.

The guitar work that could make angels cry as it soars throughout the gospel-esque pop production towards the outro is the icing on this arcane parody’s cake. Naturally, we can’t wait to hear what J sinks his lyrical teeth into next.

Stream the official music video for Our Men when it premieres on YouTube on May 15th.

Review by Amelia Vandergast

Taking Back Tomorrow have made their supersonic orchestral indie rock debut, In This Moment

If anyone ordered the male version of The Last Dinner Party, judging by the cinematically theatrical flair of their orchestrally cut debut single, In This Moment, they’ve arrived in the form of Taking Back Tomorrow.

Exhilarating from the first augmented rock-licked breath, the symphonic pop-rock mash-up exudes the charisma of Queen, slick indie style in the same vein as Editors, and orchestral layers intense enough to bring Vangelis to climax.

The synergy exhibited between the instrumentals as they spark electricity and work their way towards Blockbuster OST-esque crescendos and within the euphonically layered harmonies is unparalleled. Pour into that mix the sticky sweet extolling of mindfulness and living for the moment and you’ve got a track that transcends your ordinary earworm; there isn’t a part of your anatomy that Taking Back Tomorrow will leave unaltered.

The first thing you’ll think after having your face melted by the debut is how long has the Stoke-on-Trent 5-piece been sitting on their virtuosic talent; the second is when are they releasing their sophomore single. If any newcomer in 2024 is capable of a sure-fire trajectory straight to the top of the charts, it is Taking Back Tomorrow. Watch this space; if they can come in this strong with their debut, there’s no telling what they will do next.

In This Moment was officially released on May 4th; stream the single on Spotify.

Review by Amelia Vandergast

Revel in the melancholic petrichor of Ludvik Langholm’s intimate lo-fi pop single, Empty Parking Lot

In Ludvik Langholm’s latest single, Empty Parking Lot, the intimacy of indie pop meets the raw elements of nature to create an aching auditory experience, born from the torment of introspection.

The Leeds, UK-based Norwegian artist plunges listeners into a stormy emotional landscape that mirrors the turbulent weather it sonically captures. Crafted with the lo-fi charm of bedroom pop, Empty Parking Lot occupies a stylistic nexus akin to Neutral Milk Hotel’s artistry and Mitski’s expressive depth. The track’s lush, ethereal textures and deliberate distortions evoke the sensation of a warped tape deck, producing hauntingly personal aesthetics.

Drawing from a rich tapestry of influences, including his queer and neurodiverse perspectives, Langholm layers instrumental and vocal melodies that convey complex emotional states. The song’s narrative explores the challenge of supporting a friend through difficulty, balancing the act of giving space with the desire to offer comfort. The incorporation of rain sounds and the rhythmic swiping of windscreen wipers immerse the listener in the scene, deepening the connection to the song’s themes.

As Empty Parking Lot builds to its close, the eerie harmony of layered modulated voices takes centre stage, embodying the haunting aftermath of loss. In this track, Ludvik Langholm successfully captures the essence of vulnerability and the poignant beauty of human connection.

Ludvik Langholm released Empty Parking Lot on May 2nd; stream the single on YouTube now.

Review by Amelia Vandergast

Visit the ‘Golden State’ with Out in Front’s Breakthrough Indie Pop-Rock Debut

The indie scene has been crying out for ingenuity; Out in Front answered the plea for sonic salvation from assimilative monotony with their debut single, Golden State, which may have only been on the airwaves for two months, but the LA newcomers have wasted no time racking up close to 100k streams on Spotify alone with their inaugural release.

After the prelude teases just another twee indie pop single to add to the indie landfill, Golden State shifts gears with a brashy crescendo of overdriven guitars that hark back to The Manic Street Preacher’s earlier records before the jangle pop melodies add yet another scintillating dimension to the dynamic earworm that you’ll beg to stay.

With the Southern Cali sound an integral part of their sonic signature, the trio who met by chance at a tennis court before jamming together and realising they had the epitome of creative chemistry to share with fans all across the indie pop-rock spectrum, Golden State drenches the airwaves with glistening golden tonal bliss, wrapped in a hazily hued aura that almost feels like a second skin when you’re immersed in this instant hit.

Golden State is available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Out of Time ft Jojo Guo Elevated Phil Raskin to Audio Legend Status

The wall of sound that rushes right over you when you hit play on the standout single, Out of Time, from the three-track single, Fade, affirms that Phil Raskin has earned a place among the likes of Phil Spector, Tom Dowd, and George Martin in the audio engineer hall of fame.

The clarity, depth, and all-consuming intensity within the synthesis of pop, rock and soul make the production a phenomenon in its own right – not that the immensity of talent nestled within the performance can be understated. With guitar riffs that paralyse with their overdriven power, organ keys that transcend enough to escape material reality, and the 70s pop-rock piano melodies that intensify the emotion within Jojo Guo’s vocals and wash away the decades, Out of Time is a timelessly indomitable multisensory experience that is by far one of the most Grammy-worthy pieces I’ve heard in the past decade.

To hone his talent, the multinational engineer studied Music Production & Engineering, Film Scoring and Audio Post-Production at Berklee before relocating to LA where he became an integral part of Igloo Music Studios, working on projects for Netflix and Disney. Further into his career, he recorded a full choir session for the 2023 Super Bowl Pre-Show and was put in charge of Spatial Quality Control of Dolby Atmos deliverables for Camel City Sound. At this stage, if he had any more feathers in his cap, he’d need an aviary to contain them.

Stream Out of Time on Spotify or purchase the single via Apple Music.

Review by Amelia Vandergast

Bad Friends With Black Cats Let the Cat out of the Bag in an Exclusive A&R Factory Interview

Ahead of their eagerly anticipated EP, I WANT TO MOVE, Bad Friends With Black Cats shared insights into their evolving sound. From acoustic beginnings to a dynamic full-band experience, the group delves into how they’ve layered darker, more vulnerable lyrics with robust energy, underpinned by acoustic rhythms. The lead single, “OKAY, BYE,” encapsulates key personal milestones, setting the tone for the EP’s raw, candid vibe inspired by influencers like PUP and The Front Bottoms. This conversation invites listeners to peer deeper into the essence of their music, promising an intimate connection forged through shared struggles and high-energy anthems.

Bad Friends With Black Cats, thanks for the opportunity to sit down with you ahead of the release of your EP, I WANT TO MOVE. Can you walk us through the journey of your sound evolution leading up to this EP? What elements did you experiment with or push to the forefront this time around?

Well up until this EP, everything released had only been acoustic demos. So the biggest step we took was definitely incorporating the full band sound while still maintaining an acoustic rhythm guitar driving it. Marcelo couldn’t have written better drums to the tracks and was able to always push the energy and keep attention on the song. The lyrics continue to get darker and more vulnerable while keeping a sense of relatability, leaning on heavy influences from bands like PUP and The Front Bottoms.

What’s the story behind the lead single of the EP? How does it encapsulate the essence of the entire project?

“OKAY, BYE” is a song about meeting my partner, Melissa, in Ottawa back in 2017. It describes several aspects of our lives over the first 2 years of our relationship. It touches on my state before meeting her, my anxieties of living in a new city, and the struggle of finding a place to live. It is literally about the stage of my life where I found the music that would go on to influence this entire project (The Front Bottoms, Modern Baseball, PUP) and for that reason I think it’s the perfect introduction to the new era of Bad Friends With Black Cats.

What lies behind your motivation to deliver raw and candid music?

It’s what I’ve always connected with and listened to personally. I’ve always gravitated to the lyrics and meaning of a song and really loved when it was vulnerable and authentic. Bands like PUP, who deliver such high energy and emotion despite yelling about everything they hate, have always hit home for me and have been my preference; it only makes sense that would bleed over into my writing and what I want to make.

Which artists are the most influential on your sound, and where else do you pull inspiration from?

The biggest influences on our sound are bands like PUP, The Front Bottoms, Jeff Rosenstock and Modern Baseball. However, I have gone through so many phases of my life listening to different styles, and I believe they all play their own part on influencing our music. (Green Day, MCR, Avenged Sevenfold, Mumford and Sons, Aesop Rock)

Growing up, Blink 182 was also a huge influence on both Marcelo and I. You can really hear Travis Barkers influence on the drumming as well as the idea of not taking ourselves to seriously with the lyrics.

How do you hope the EP will resonate with your audience or shift listener perceptions about your music?

I really just hope listeners find the struggles in daily life relatable and worth yelling with us about. I think we touch on a variety of very relatable insecurities while delivering high-energy tunes that people can enjoy.

How do personal experiences and emotions feed into your songwriting and music production?

Paul: That’s really the driving force of our music. Our music starts and ends with the struggles we face every day. It’s the reason I pick up the guitar and start writing. Personal experiences and emotions are what sparks creativity, at least for my personally.

We’d love to know the story behind your endearingly unique artist name, and a little bit of the band’s history and inner workings.  

I originally started this band with a high school friend, Connor Ratayczak. After going 5+ years of barely communicating and being flakey, we reunited to try and start a band. We each had black cats and thought the idea of being “bad friends” had a ring to it. I think it really fits the “goofy punk” band name style and fits the brand very. My black cat, Shady, is also my best friend (concerning, I know) and having her incorporated somehow makes me happy. I got Shady at the beginning of the toughest phase of my life, so she’s been through it all too!

Looking beyond this EP, how do you see your music evolving in the future?

It’s hard to say. Obviously we’ll strive to improve our sound and quality and take another step forward in the next recording venture. But in terms of style and inspiration, I don’t think we know. We have a ton of songs we’re sitting on that fit this style that we’re so excited to start recording, but it’s hard to predict what we’ll write next. I’ll continue to listen to amazing artists that inspire me to create.

Listen to Bad Friends With Black Cats on Spotify.

Follow the band on Facebook and Instagram.

Interview by Amelia Vandergast

Locian became the architect of art-rock therapy with his sophomore single, Power

Artistic intensity is tempered by the dialectical quiescence in the stormily tender confluence of art-rock and trip-hop in the sophomore single, Power, from Sydney’s most promising breakthrough artist, Locian.

Aching reverberations course through the lush architecture of the syncopated progressions, providing the ultimate juxtaposition of discomfort and ease to pay a fitting tribute to the complex interplay of ennui and self-imposed affliction. Locian’s vocals, caressing with each whispered breath, provide the ultimate permission to surrender to the therapeutic virtues of this flawlessly poignant release.

By building into a corrosive industrial electronica sequence towards the outro, which becomes a sonic visualisation of the disorientating soul-tearing nature of self-destructive internal narratives, Locian ensured that Power hit with maximum impact.

If your introspection is more torturous than waterboarding, break free from the poisoned rumination through the resounding philosophy within Power; it’s far cheaper than therapy.

Power will be available to stream on all major platforms, including SoundCloud from May 10th.

Review by Amelia Vandergast