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Alternative

Kickstart your rhythmic pulses with Scott Cook’s alt-rock kaleidoscope of poetic innovation, The Author

Posted on 7 October 2024

With ‘The Author’, Montreal’s Scott Cook served an electrifying synthesis of gritty guitar riffs reminiscent of the Manic Street Preachers and the ethereal synth overlays akin to Suicide’s ‘Dream Baby Dream’. In the cacophony of the saturated with banality modern music scene, the single is a rare slice of accordance.

Cook’s voice, an instrument in its own right, weaves through the tight instrumental arrangement, anchoring and elevating the melodies with his poetic lyricality which is just as sharp as his guitar hooks in the track which filters the colour of psych pop-rock harmonics into the alchemic cocktail which invites you to lose yourself in its euphonic bliss.

The arrangement’s dynamism is palpable, with ebbs and flows that create eager anticipation for the next burst of momentum and the catharsis it bestows.

Scott Cook proves with ‘The Author’ that his musical evolution is not just ongoing but accelerating. Drawing on an eclectic palette that spans genres and eras, he reflects on contemporary life with a candour that Morrissey would struggle to match. If he released this hit in the 90s, he’d be at the top of the charts.

The Author was officially released on September 23rd, stream the single on all major platforms, including Spotify.

Review by Amelia Vandergast

Radio-Activity haunted the dancefloor with their house anthem,  Ghost of You

Posted on 6 October 2024

Radio-Activity’s single ‘Ghost of You,’ may have been released this summer, but it is veritably one of the hottest Halloween EDM House drops of 2024. The anthem juxtaposes luminously lit euphoria with dark, moody, atmospheric chills that wrap around solid basslines, crafting a soundscape that haunts as much as it kinetically adrenalises.

Though initially known as a rock powerhouse, Radio-Activity has indisputably found their forte in the EDM house arena. The cleverly constructed track has allowed them to emerge as rock stars of the EDM genre. With ‘Ghost of You,’ they invite listeners to find the rhythmic rapture in being haunted by your own heart in the aftermath of a breakup.

Like The Prodigy, Die Antwoord, Skrillex, and Pendulum, who were welcomed into the rock community with open arms, we anticipate alt-music fans finding just as much favour in the fervour of this release. What genre they will dip into next is anyone’s guess, but with their chameleonic talent, it isn’t likely that they will go lower than the high bar set by ‘Ghost of You.’

Stream Ghost of You on all major platforms, including Spotify.

Review by Amelia Vandergast

Atrionix painted a neon-lit skyline in his synthwave score, Nights

Posted on 5 October 2024

Sinking into Atrionix’s, standout single, Nights, is so much more than hitting play on an instrumental score; it is diving headfirst into a neon-drenched skyline after dusk.

Short, yet undeniably affecting, the retro-futurist single sets a high bar for anticipation of what’s next from the promising artist. With just over a minute of runtime, Atrionix, the stage name of 19-year-old Londoner Rahul Dasgupta, proves that brevity can indeed be the soul of wit—and of intrigue.

Nights sweeps you up in a rush of synth waves, echoing the energy of a city that never sleeps, each note painting streaks of light across the dark canvas of the listener’s imagination.

After earning his stripes as a pianist, violinist and guitarist at a young age, Rahul had naturally progressed into electronic production by 12; his creative ambitions and passion for sound palettes have never faltered. With his sights now set on becoming a hitmaker and his production style as honed as Empathy Test’s, his career path is going to be paved in gold.

Don’t mistake Nights as a short and sweet instrumental, recognise it as a bold statement of what’s to come from one of the most promising up-and-coming artists on the scene today.

Stream Nights on YouTube now.

Review by Amelia Vandergast

The Simpletone is back with vengeance in their darkly kinetic alt-rock anthem, Circles

Posted on 4 October 2024
The Simpletone

After amassing renown for the intensity of their live performances following their 2010 inception, releasing three critically acclaimed LPs, gaining a cult following, winning the Cambridge Band Competition, joining New Model Army on tour and being revered by Classic Rock Magazine, The Simpletone broke their fair share of hearts when they split in 2017.

After a six-year hiatus, The Simpletone sound is sharper than ever; their comeback track, Circles, which teases what’s to come in their upcoming fourth LP, The Eternal Now, dares you to imagine the veins of blues rock running through a sonic love child conceived between Sisters of Mercy and Queens of the Stone Age.

The shadowy rock licks bring the arcane atmosphere as the rhythm section intravenously injects kinetic energy into the anthem, which proves that The Simpletone weren’t down and out in 2017; they were priming for one of the most scintillating artistic reinventions the UK alt-rock scene has seen in the past decade.

Circles will be available to stream on all major platforms from October 4th. Hear the single on YouTube and follow The Simpletone on Instagram and Facebook to stay up to date with all future releases.

Review by Amelia Vandergast

Harmonies of the Haunted: Michael Richard Beirne Shares His Artistic Revelation in an Exclusive A&R Factory Interview

Posted on 3 October 2024

This week, we sat down with Michael Richard Beirne to explore the depths of his unique approach to music showcased in his two-part LP, The Haunted.

Since 2020, Beirne has transitioned from crafting experimental soundscapes to composing structured, narrative-driven dark folk vignettes, influenced by Nick Cave and seminal albums such as Radiohead’s In Rainbows, which shape his distinct sonic identity. Beyond the melodies, Beirne intertwines his Catholic beliefs, addressing themes of redemption, the nature of evil, and divine love. As he shifts from darker, introspective themes to the exuberant and vibrant energies expected in future projects, Michael Richard Beirne is forging a powerful auditory narrative that resonates with deep personal and spiritual truths.

Michael Richard Beirne, thanks for taking the time to sit down with us and discuss your unique approach to lyricism and sonic expression exhibited through your two-part LP, The Haunted. How did you hone your clearly cultivated songwriting style? 

Thank you for the opportunity of this interview & for your complimentary words.

I’ve been writing songs since 2020 when my brother gave me a new laptop with music-making software, a synthesiser & a microphone. The ability to write shorter, structured, narrative songs arrived after an extensive initial 2.5-year period of pure research, sample-collection, & eclectic loop-shopping, during which I made bizarre, rambling, experimental non-songs to find a way with lyrics & various ways of deploying my voice. At the end of 2022, I had a few songs which suggested the shape of a pair of albums, one set in Ireland and one set in Malta.

 The Haunted is as sombre as it is strikingly Avant-Garde; the soundscapes give Nick Cave a run for his money. Who or what are your biggest influences and how do they fit into your distinct sonic identity? 

Nick Cave & the Bad Seeds are undoubtedly the single most important influence. I find inspiration in the soundscapes of particular tracks; for example, the cavernous, epic feeling of Song of Joy from the album Murder Ballads, the enormous eeriness of Do You Love Me? Part 2 from Let Love In, as well as the narrative complexity & storytelling in Oh My Lord from No More Shall We Part. These songs suggest a scope and vast ambition to which I aspire.

Beyond that, I am really inspired by the idea of the album itself as a consummate artistic object and statement of belief. In this respect, I aspire to create something as integrated as In Rainbows by Radiohead, Merriweather Post Pavillion by Animal Collective, Skeleton Tree by the Bad Seeds, & Speakerboxxx/ Love-Below by Outkast. These albums are scorchingly eclectic, varied, and unpredictable, and yet achieve a holistic and coherent singular vision. They transcend individual songs & become a unified narrative, harnessing multiple modes of expression.

As a Catholic, how important is it for you to incorporate your religion into your music?

I am strongly committed to ensuring that my music both directly & indirectly describes God (in that my songs are condemnatory of evil) and Jesus Christ (in that they are expressive of a joyful, redeemed universe which is founded on forgiveness & love). To express this belief, I take cues from traditional Irish folk tunes, as well as from gospel music, & gospel-infused funk & hip-hop.

You’ve teased that there are more releases in the pipeline; what themes will be explored in your future projects?

Part 1 is very much a kind of story of emergence from depressive, anxious, psychotic & sinful patterns of thought into hope & forgiveness. Part 2 is more directly a celebration of joyful adventure in a happier, more redeemed state of mind in a futuristic world.

Part 3 is very much about the idea of the interaction between believers & non-believers, and communication. This Part 3 is therefore, in Christian terms, a kind of “Holy Spirit” album; the songs are designed to be more obviously catchier, groovier, and infectious, with strong rhythm sections & boom-bap.

How does your music usually come to fruition?

Songs are usually built from just a single chord progression or electric bass riff. I give that a title which suggests some sort of character & dramatic narrative. I then record improvised singing, rapping & general wailing over the top. I listen back to these improvised takes until I begin to hear in them the shape of the words. I type these up as I listen back to the improvisations. Then I repeat the process through many iterations, adding in sonic details. I listen to the song for weeks or even months to iron out all the lyrics.

When are you most creatively inspired? 

I’m most inspired by just a song’s title & the feeling that a loop or sample contains within it a hidden story & personality. It is as if the song already exists in a single note & the import of a single word.  

How do your debut LP and your forthcoming releases fit into your creative ambitions?

My ambition is simply to make albums that in some way try to measure up to my favourite records and be like the kind of records that my father introduced me to. He introduced me to Songs of Leonard Cohen, Nebraska by Springsteen, and the Pogues’ Rum, Sodomy & The Lash, as well as the Johnny Cash American records. All I hope is that my albums will form a small part of the history of music and that they can exist alongside those timeless albums on platforms such as Spotify & Apple. My other main purpose is to share my gratitude for my life and my belief in Jesus.

–

Stream Part 1 and Part 2 of Michael Richard Beirne’s Haunted LP on Spotify. 

Connect with the artist on Instagram.

 

Interview by Amelia Vandergast

The renegades of shoegaze revolution, interail, emerged as an unreckonable outfit in their debut single, red

Posted on 3 October 2024

With their debut single, red, the independent alt-rock outfit interail went beyond dropping the first track in their repertoire. The Northwest UK-hailing four-piece collective established themselves as the renegades of rock’s impending revolution, impending under their juggernautical volution.

Undercurrents of grungy shoegaze permeate the artfully chaotic tour de force, guaranteeing that getting swept up in the tides of red is non-optional as piercingly tumultuous percussion punctuates the laments of the distorted guitars beneath the vox, which oscillate between emulating everyone from Julian Casablancas to Thom Yorke to Orlando Weeks before heightening the evocative sting of the unique inflexions as the track gears towards its viscerally intense hardcore-tinged outro.

Not one moment of red allows you to feel comfortable within the progressions; the dynamic chameleon shifts in pace and tone are enough to leave your nerves frayed and your rhythmic pulses in knots.

The bar couldn’t have been set higher with their debut track; if you’re sick of assimilation-driven shoegaze, prepare to be adrenalised by the walls of sound in red.

Stream red on Spotify now.

Review by Amelia Vandergast

Elevated Focusion Reflects on his ‘Dark Nights’ LP and Sonic Fusionist Style

Posted on 2 October 2024
Elevated Focusion

In this exclusive interview, Elevated Focusion took us into the shadows of his latest album, Dark Nights, exposing the eclectic sonic styles which have shaped his unique artistic identity. From his roots in the late ’90s rave scene to his exploration of outlaw country and dancehall, Elevated Focusion discusses the transformative role of live instrumentation and how classic rock concept albums inspired his approach to producing a yet genre-fluid tour de force. Read on to discover how Elevated Focusion’s past and present musical identities intertwine to forge a path forward in his artistic career.

Elevated Focusion, you made an unforgettable impression on us with your album, Dark Nights. You’ve nailed the darkwave pop aesthetic in spite of the genre-fluidity which permeates the 11 tracks. Who were your foundational influences for the album? 

I am so happy you guys like the album.  Musically it is a real gumbo.  I definitely wasn’t trying to reinvent the wheel here but rather try to build a really cool car based on parts of the things I love personally.

I grew up during the late 90s rave scene, so The Crystal Method and The Chemical Brothers were an influence here. I was influenced by some of the more modern dark electronic artists like TR/ST and Anders Manga. In the industrial world, I was inspired by the fun experimentation of Raymond Watts and Pigface.

I probably listen to my Outlaw Country playlist every day so that poetic language really speaks to me specifically with artists like Waylon Jennings, Charlie Daniels, and Billy Joe Shaver. Dancehall artists like Patra along with early 2000’s rock artists like the Deftones had their influence as well.

What was the initial spark that led you to create ‘Dark Nights’, and how did the concept evolve from that first idea?

I always loved the idea of The Judgment Night soundtrack where hip-hop artists collaborated with metal bands. That soundtrack came out when I was 12 years old, and was probably my biggest influence in trying to bring musical worlds together as a whole.

I also love the concept behind UNKLE & Massive Attack with having a variety of singers on different tracks.  I personally love listening to an album straight through.  So each album I make is meant to flow from beginning to end.  The overall “concept idea” is inspired by concept albums from classic rock.

Thematically I got the idea for the overall concept from the horror anthology series Tales From The Crypt.  Even though every episode had different stories, actors, and sometimes directors, you could always tell that each episode was part of Tales From The Crypt.  They all stood alone with individual storylines, but they still had something recognizable to tie them together with that show.  And that’s what I wanted to do with this album.  Create a musical Tales from The Crypt…lol.

How did your experiences in Queens during the early 2000s influence the sound and stories on this album?

During the early 2000s, I was in my own little musical world.  All I really listened to was my own music that I would make on my keyboard.  I honestly had no idea about what was going on in the outside world.  So I love creating a little world of its own with each song and album that I create.

From 2001 to 2004, I probably made close to 1000 songs. Most were incomplete and just moods or melodies.  When I stopped making music on my keyboard in 2004, it was the time in my life that I really got into researching other music.  For nearly 20 years, I never did any type of artistic activity.  I just listened and explored every genre and subgenre I could find.

I never planned on ever making music again until my wife convinced me to start releasing my old keyboard music during Covid.  Things just happened and I started creating new music again in 2023. It is a combination of things that brings me to where I am today as an artist.

What role did live instrumentation play in the creation of Dark Nights, and how did it differ from your usual electronic production?

Live instrumentation really helped me take the songs to the next level.  It definitely took my sound from being simply synth music to something a bit more elevated.  I had a very ambitious vision of my mixing my synth drums with live drums as well as mixing all my layered synth sounds with live vocals and instruments.  These things really make you appreciate the role of an engineer….lol. And I happened to be fortunate enough to work with Chris Conway who is an absolute master of his craft.

I don’t really know anything about musical theory, and I cannot read or write music either.  So, working with live musicians really helps with my own limitations as an artist.

Could you give us an inside view into the production process behind one of the standout tracks on Dark Nights? 

Sure, let’s talk about Club Hell. I started out wanting to make a simple fun dance song.  Over time I added, changed, and edited the sounds until I had something that I liked.

I went back to it and thought, this really sounds like it is a club in hell.  So, I started writing to it with that theme in mind.  At first, I didn’t have a rap verse in mind.  Then, I thought it could be cool to have something fun to break things up a bit. So, I created a rap verse section on the instrumental and wrote a verse for it.  Something that was just meant to be fun, not analyzed.

Once the vocals were recorded, I still felt like something was missing.  So I reached out to a bass player to give a really funky synth bass line.  That was definitely inspired by Herbie Hancock. Once I had all my ingredients, I headed to the studio to give it a mix where Chris Conway helped me to find peace amongst the chaos of the song.

How do the lyrical themes of the album manifest in the instrumentation and production?

I usually start with the instrumental first.  And eventually, something will click. I will hear a sound or there is something that brings a familiar memory.  Just as a scent can kinda trigger something familiar. Once I get that familiar feeling, I will really get into character, and then the song comes together very quickly.

How do you think your musical identity as Jonny Rythmns during 2001-2004 contrasts or complements your current persona as Elevated Focusion?

As Jonny Rythmns, my music wasn’t really focused.  My emotions were high but the music wasn’t really there yet.  It was sloppy and wasn’t really mixed properly, but you can definitely feel the raw emotion that was going on at the time. However, the music was still very raw as well.

Elevated Focusion is the product of 20 years of exploring every artist of every single genre and subgenre I can find.  The sound is more focused with the purpose of bringing together every musical influence I have experienced during my 20-year hiatus from making music combined with my own synth style that I developed during 2001 – 2004.

What do you hope your listeners will take away after listening to Dark Nights?

I honestly just hope that people enjoy the experience.  I don’t claim to be the most technical musician out there.  The only thing that I hope that someone would take from listening to ‘Dark Nights’ is that they enjoy it enough that they want to listen to it again.

How has the creation of Dark Nights influenced your thoughts on the future direction of your music?

I loved ‘Dark Nights’ but I’m ready to move on to the next concept.  My next album is already recorded and ready for mixing, so I already know where I am heading…lol.  It is somewhere completely than my first two albums. I don’t want to say too much, but I hope to release it next summer.

Stream Elevated Focusion’s discography on all major platforms via this link.

Interview by Amelia Vandergast

The Worry People stripped bare with their visceral alt-indie anthem, Naked

Posted on 2 October 2024

The anxiously anthemic alt-indie duo, The Worry People, sharpened their hooks for their latest single and music video, Naked, while redefining what it means to wear your heart on your sleeve.

Sam Stewart and Ryan Dodd have made light work of trailblazing through the indie rock scene with their viscerally raw vulnerability since their debut release. This time, the cinematic production heightens the emotion to the nth degree, while the angular guitars slice through the moody, iridescent soundscape creating a sonic palette that only The Worry People could paint.

The track hammers home its message with each punch of percussion, pulling you into the thematic underpinnings which paint a vignette of the masochism love drives us to. As the duo lays bare the intricacies of intimacy, you’re left to confront the emotional bruises that come with leaving your soul exposed.

With their forte in crafting memorable memories infused with introspective depth, you’d be hard-pressed to find a more affecting up-and-coming indie artist in the UK scene in 2024.

Having recently graced the stage at the Belladrum Tartan Heart Festival and preparing for an upcoming BBC Radio Kent session, The Worry People are carving out a space that’s not only distinct but vital. With Naked, they’ve not just added to their repertoire—they’ve electrified it.

The official music video for Naked premiered on September 20; stream it on YouTube now.

Review by Amelia Vandergast

Sink into the seductively psyched-up grooves of amoklove’s sophomore single, Brown Eyes Red

Posted on 1 October 2024

The mind-bending juggernaut of a powerhouse, amoklove, has struck again with their latest seductively Avant-Garde single, Brown Eyes Red. The saturated in delay wavy grooves of funked-up indietronica melt into your consciousness like a sonic trip.

The woozy hypnotism of the crooning vocals works in synergy with the instrumentals, pulling you deeper into the undercurrents of the kaleidoscopic bliss of the warm, psych-soaked melodies; the cold, angular post-punk guitars cut through with surgical precision, leaving a jagged edge in an otherwise hazy reverie.

It’s as if amoklove has figured out how to bottle euphoria and unease in one hit. With grooves that slither straight into the soul, the up-and-coming multicultural collective is the ultimate purveyor of obscure magnetism. With a similar tonal palette to IST IST, it’s only a matter of time before amoklove reaches the same heights.

Stream Brown Eyes Red on Spotify now.

Review by Amelia Vandergast

Indie pop’s most endearingly ruthless renegade, Stella., struck again with his latest earworm, Friendly Reminder

Posted on 1 October 2024

Stella. reached his subversive zenith with his latest alt-indie pop earworm, Friendly Reminder, which is anything but what it says on the tin. The neon-lit synth lines may deliver nothing but pure euphoria, but the lyrics, as they pour from the singer-songwriter’s euphonic vocal register, reach the epitome of ruthlessness to remedy anyone who still carries contempt for their toxic exes.

The sticky-sweet synth-pop hooks and Stella.’s organically seraphic harmonies honey the cathartically cut-throat lyrics, making you almost second guess the reprises given the juxtaposition between the butter-wouldn’t-melt textures and the vindicating attestations to how healing doesn’t always need to lead to wishing the best for someone who deserves to discover that karma is an even bigger bitch than they are.

If you constantly find yourself tied to trauma bonds, follow Stella. like your life depends on it; he’s a rare artist that can cut through the static of superficial pop, hit close to the bone and deliver anthems that are as infectious as they are empowering.

As an ingenious way of supporting his new release, the NYC singer-songwriter developed his own dating app; swipe your way into your next clusterfuck situationship here.

Friendly Reminder was officially released on September 27; stream the single on all major platforms, including Spotify.

Follow Stella. on Instagram.

Review by Amelia Vandergast