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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.

Lulled by the Digital Tides: Mercy Vibe Strikes an Ambient Polyphonic Chord in ‘So Dreamy’

Posted on 30 October 2024

‘So Dreamy’ by Mercy Vibe is a serene drift along uncharted digital waves. The reggae-infused track marries the unexpected charm of 8-bit-esque polyphonic electronica with the familiar comfort of syncopated rhythms. The real brilliance lies not just in the fusion but in the execution. With oceanic effects gently rustling through the production, listeners are invited to surrender to the track’s cathartic ambience, where nature meets meandering chiptune progressions in harmony.

Mercy Vibe, a Midwest-hailing artist and producer, allowed this seminal single to act as a canvas to exhibit her genre boundary-pushing and future-forward production style. As a thinker and creator, she has mastered the art of imbuing her rhythms with resonance. The philosophy of the instrumental piece is written between the lines: live free and easy, a message delivered purely through the musical motifs that pulse at the heart of the track which allows reggae beats to meet the pixelated pulses of retro gaming machines—a sublime retreat from the mundane, urging listeners to embrace a sonic experience that’s as dreamy as it is revolutionary.

Be a part of the reverie by streaming So Dreamy on YouTube.

Review by Amelia Vandergast

Lia Juno exhibited the pain of raw rumination in her alt-indie tour de force, Sight

Posted on 30 October 2024
Lia Juno

Ethereal alt-indie pop vocals meet cavernous guitar lines in Lia Juno’s intimately melancholic single, ‘Sight’, which deconstructs familiar tonality, tearing it down to the aural rubble before rebuilding a sonic landscape where sanctuary for the disillusioned resides.

Since unveiling her debut single, Fevering, earlier this year, the LA-based independent artist has made all the right waves; with her latest single she puts herself in the same league as Wolf Alice and Big Thief with the cerebral thematic nature of the manifesto of mournful rumination.

Building up from Pixies-esque artfully dramatic motifs to a blisteringly grungy crescendo of distorted guitars clashing in oscillation with the rhythm section, Sight ensures that if you have any pent-up emotions when you hit play, they’ll be obliterated by the impact of the track’s climax which you’ll want to feel the force of time after time.

Sight will be available to stream on all major platforms, including Spotify and SoundCloud, from October 30th.

Review by Amelia Vandergast

Gemma Felicity – AM I TOXIC: A Kinetically Electric Alt-Pop Candid Confession

Posted on 28 October 2024

‘AM I TOXIC’ by Gemma Felicity proves that a good pop hit is so much more than a polished set of hooks, a honeyed set of pipes and a catchy chorus line; it’s a songwriter who knows exactly how to stretch your perceptions to let new resonance in through the use of confessional candour.

Felicity’s personal flaws are laid bare in the accountability-driven dance-pop anthem, but even the most scrupulous critic would struggle to find a flaw in the single itself. The perennial pop earworm transcends an auditory experience through the way it alters your emotional state with the euphoric energy in the high-octane, kinetically electric pulse of the track, which is all too easy to get addicted to.

The London-based alt-pop artist has been honing her eloquent craft since the age of 9; in 2024, it has all paid off with AM I TOXIC, which will feature on her first EP, Baggage, which explores how personal baggage can weigh heavy romantic relationships.

Having performed at iconic venues and been featured on BBC Introducing, Gemma’s presence is both resonant and transformative, continuing to mesmerise and energise audiences worldwide as she prepares for a performance at the Miss Planet International Beauty Pageant.

Stream AM I TOXIC on Spotify now.

Review by Amelia Vandergast

Leah Nawy Blossomed into Indie Stardom with ‘I Was a Flower’

Posted on 27 October 2024

Leah Nawy’s latest single, I Was a Flower, is an emotional sojourn you will never want to return from. Drawing on influences from Big Thief, Yo La Tengo, and Grandaddy, the track unfurls like a séance of tonal sublimity, decorated with artful flourishes and polyphonic bursts of hazy reverie.

If the aforementioned artists hit you in the feels, imagine that emotional weight paired with a voice that fuses Norah Jones’ intimate introspection with the soaring range of Macy Gray.

The thematic blossoming within the track’s progressions ensures every component heightens the emotion and intensifies the resonance, effortlessly showcasing Leah Nawy’s depth as both a songwriter and producer. At just 23, the NYC-based artist, who honed her craft at Berklee NYC, has mastered the art of making every note and lyric hit with purpose.

I Was a Flower was officially released on October 2nd; stream the single on Spotify now.

Review by Amelia Vandergast

Seductive Synths and Industrial Grit: Silverlake Digs Deep with ‘X (I Should Be Digging)’

Posted on 27 October 2024
Silverlake

Synthesising the demure magnetism of Garbage, the arcane aura of Bjork, and a visceral indietronica pulse, Silverlake electrifies the senses with strobing synths lighting up the polished production in their latest seminal single, X (I Should Be Digging), taken from their third LP, Exotic Metals Ltd.

There’s a seductive power in every second, with sharper-than-razorwire hooks, luxe guitar licks, and siren-esque vocal lines courtesy of Sally-Ann Parker, whose performance is nothing less than hypnotic.

The track’s descent into pure leftfield chaos, guided by oscillating synths and pummelling bass, leaves a lasting impression, securing Silverlake’s place as one of the most scintillating indie-pop outfits on the UK underground circuit.

Drawing on their West Midlands roots, ‘X’ reflects their unique ability to fuse industrial influences with ethereal sublimity. Industrial electronica doesn’t frequently veer into the remit of otherworldly tonality, but as X proves, when it does, the result is nothing short of alchemic and starkly cinematic.

X (I Should Be Digging) was officially released on September 20; stream the single on SoundCloud and Bandcamp now.

Review by Amelia Vandergast

MANA is down with the sickness in their indie post-punk sophomore single, Nauseating Me

Posted on 26 October 2024

MANA has reached a plateau above a scene cluttered with pallid echoes of post-punk pioneers with ‘Nauseating Me’, a track that defiantly carves a new notch in the indie scene. The Irish ensemble, now threading through the fabric of Berlin’s underground scene, has leapt forward from their promising debut with ‘Our Words’.

Their guitar work, reminiscent of the late 70s and early 80s licks, weaves through the track like Poison Ivy’s angularly arcane poise in confluence with the vocals which chameleonically shift from ethereal harmonies in the vein of Jaws and Peace to Strokes-esque vintagely doctored timbres as the track carries the cultivated appeal of mainstream titans like Arcade Fire and The Vaccines.

Equally as cerebral as their sound, MANA’s lyricism carries just as much intellectual weight with their dedication to painting vignettes of defiance, hope, polarisation, cynicism and displacement. Their philosophical approach to thematic underpinnings paired with the oscillations of indie innovation ensures that MANA is not just continuing traditions but setting precedents.

For those wearied by the monochrome renditions of Joy Division, join MANA in their electrifying new division as they traverse lesser-trodden intersections of indie’s anthemic fervour and post-punk’s monochromatic chill.

Nauseating Me was officially released on October 2nd; stream the single on Spotify now.

Review by Amelia Vandergast

Spotlight Feature: Brighton’s John Jackson Debuts with ‘Tomorrow’—A Britpop Diary of Loss and Hope

Posted on 26 October 2024

John Jackson’s debut EP, Tomorrow, unveils itself as a meditative exploration, using the avenues of indie and Britpop to navigate intimate reflections of an introspective psyche. Recorded in his Brighton home, the self-produced collection of singles invites listeners to aurally gaze into tender expositions of grief, heroism, and isolation, melodically prising beauty from melancholy.

The opening title track, Tomorrow, is a diaphanous curtain-raiser, reminiscent of Blur’s sonic breadth but uniquely steeped in the thematic depth of personal loss. Jackson’s masterful weaving of art through the agony of grief through Thom Yorke-like flourishes transforms the track into an introspective odyssey. It’s a journey through sorrow, beautifully wrapped in tender melodic progressions that resonate with the listener’s own hidden echoes of loss.

Transitioning from the ethereal to the earthbound, Save Heaven shifts the mood with its melancholic yet profound orchestration. Here, Jackson explores the sting of isolation, crafting a cinematically rich soundscape that hits all the right evocative triggers  The orchestral elements, coupled with the syncopated pulses of the track, create a magnetising rhythmic pull that draws deeper into the shared experience of solitude.

The EP’s narrative arc reaches a crescendo with Hero; an ode to Inspiral Carpets and the concept of unexpected bravery. It’s a rumination on fearlessness that asserts Jackson’s ability to bear his musical influences while allowing his authenticity to permeate through homage.

As a first entry, Jackson’s debut EP couldn’t be more promising; his ability to speak on unspoken phenomena through his affectingly authentic sonic identity is what every songwriter should strive to achieve through their art and expression.

Tomorrow is now available to stream on all major platforms, including Spotify.

Keep up to date with new releases from John Jackson via Instagram.

Review by Amelia Vandergast

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

Posted on 26 October 2024
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

Julia Kahn visualised the divinity of dark feminine energy with her dark pop installation of etherealism, Badlands

Posted on 25 October 2024
Julia Kahn

With her latest single, Badlands, Nashville’s dark-pop siren Julia Kahn defiantly stepped beyond the conventional boundaries of genre and geography. Born in a city more famed for its twangs of Americana than oscillations of dark cinematic mesmerism, Kahn stridently stepped into her own through the untamed echoes of empowerment and vulnerability in her latest release.

The summons to embrace authenticity, regardless of how messy that reality can be, draws you into a trip-hopped and spiritually awakened vortex of sound where ethereal vocal lines fuse with intricately frenetic drum patterns and strobing synth lines, crafting a soundscape swarming with evocative power and the divinity of dark feminine energy.

Each note demands emotional investment under the duress of Kahn, who has recently stepped off a major international festival tour and amassed a series of accolades that include airplay on BBC Radio and nods from critical platforms like Earmilk and Music Week.

With millions of views on TikTok and skyrocketing streaming numbers, Kahn is at the vanguard of a new movement, one which tempts her cult following into living unapologetically.

Badlands will be available to stream on all major platforms from October 25th; check out her Spotify and official website.

Review by Amelia Vandergast

Loudness Wars unleashed heavy scuzz rock artillery with ‘Withered Flower’

Posted on 23 October 2024
Withered Flower by Loudness Wars

Loudness Wars made no apologies for turning up the decibels with their latest single, “Withered Flower.” The seasoned and striped alt-rock outfit plunges listeners into a sludged-up vortex where the textured growl of Deftones meets the cerebral drama of Muse, with a hint of Smashing Pumpkins’ melancholy woven through.

The innovative declaration in the guise of an alt-rock anthem sees Jerome, the Sri Lankan-born lead on guitars and vocals, crafting a soundscape where each strum feels like a pulse of raw emotional electricity. His voice, an artful contortion, sinks into the distortion that bleeds from the angular, cutting guitars. The anthemic hooks that ensue are nothing short of adrenaline for the soul, crafting a track that’s as unnerving as it is entrancing.

Rich, a guitarist turned bassist, brings a grounded ferocity to the mix. His transition from guitar to bass underpins the track with a depth that only a rhythmic savant could provide. Completing this trio, Ian, a lifelong drummer whose rhythmic instincts are as inherent as breathing, injects Withered Flower with a relentless beat that binds the track’s explosive components. His chemistry with Rich, rooted in their shared upbringing in Chesham, fuels the rhythmic backbone of this record with precision and wild abandon.

Together, they transform “Withered Flower”—a poignant meditation on decay—into a pulse-throbbing hit. The charismatically maniacal presence of Jerome’s vocals incites a riotous revival of alt-rock, proving that the outfit has heavy artillery to attack the senses and leave them cathartically affected.

Stream Withered Flower on Bandcamp now.

Review by Amelia Vandergast