Browsing Tag

Alternative

Sleeping Through Breakfast brought comfort to the void in their alt-indie release, Black Hole

Rarely do indie folk and pop punk melodically intersect, but as proven by Sleeping Through Breakfast’s single ‘Black Hole’, which brings comfort to the void, soul-teasing sublimity transpires.

You’ll come for the convention-defying instrumentals, but you will stay for the stunningly distinct vocals, which use unique inflections to exhibit just how authentic this outfit is. With guitars that spill sepia tones in the same vein as Muzz, paired with sincerity-soaked vocals and artful embellishments, the duo make a mockery of middle-of-the-road artists with their semi-lucid, endlessly ascending motifs. It’s not just the uniqueness of the soundprint that will leave you aching for more; it’s how intensely the cosmic-hued melodies grip the heartstrings.

Founded in 2021, the alternative/art rock duo Zander Prokop and Joshua Kleiman has been orchestrating for the introspective dreamers with their already expansive discography. With their earlier releases, such as Pillowcase Studies and The A Hopeful Note EP, they set the bar high, but they always find new plateaus to aurally visit. Their latest endeavour, the People Without Faces EP, released on September 22nd, explores themes of death and the inevitable decay of the world while unravelling as a testament to the necessity of finding solace in the love that remains.

Safe to say, Sleeping Through Breakfast has carved out their own space in the alternative scene, and with ‘Black Hole,’ they attest they are here to stay. If they aren’t topping the charts with their Nada Surf-esque tenderness in a few years, we riot.

Black Hole was officially released on September 14; stream the single on Spotify.

Review by Amelia Vandergast

Caught in the Sonic Undertow of  Dan Morgan’s Post-Rock Riptide, ‘Brace Yourself’

In The Wake Of A Dying Sun by Dan Morgan

After intense anticipation, Dan Morgan’s debut LP, In the Wake of a Dying Sun, released by Throwing Shapes, is finally upon us. After the opening salvo, the first of the seminal singles, Brace Yourself, offers listeners a potent foretaste of the album’s virtuosic versatility. Brace Yourself is not only a harbinger of Morgan’s diverse exploration but a forceful narrative in its own right, positioning itself steadfastly within the post-rock genre.

In this track, traditional rock instrumentation grooves against cutting-edge and vintage analogue synths, lending an air of retro-futurism to the production which allows the poetic whispers of lyricality to resonate beyond the confines of the release as the verses work their way into the reverberations of your mind.

The complex time signatures woven throughout Brace Yourself are the ultimate attestations of Morgan’s ability to melodically manipulate controlled chaos. This rhythmic complexity adds a palpable intensity to the track which delivers post-rock as you’ve never heard it before.

You’ll be caught between adoration of how cohesively all the elements of the track pulled together and the intensity of emotions evoked by the sonic escapade. Because once you hit play, you’re powerless to resist the momentum. Like getting caught up in a riptide at sea, all you can do is succumb to the higher power as it carries you.

As the first glimpse of what ‘In the Wake of a Dying Sun’ promises, ‘Brace Yourself’ sets a high bar. It is an earnest reflection of Morgan’s last few years of dedication in the studio, wrestling with a spectrum of sounds and influences that culminate in a collection of tracks that are set to seal his fate as one of the most promising UK alt-rock artists of 2024.

In the Wake of a Dying Sun was released on September 12 stream the LP in full on Bandcamp.

Review by Amelia Vandergast

Sticker – Making Mistakes: A Garage Grunge Anthem for the Fatally Fallible

Sticker’s debut single ‘Making Mistakes’ erupts as an explosive anthem for the perpetually remorseful and as a vindicating release for anyone haunted by the spectre of past missteps.

With its garage-grunge aesthetic sharply intersected by the electrifying surges of pop punk, the track from their debut EP, ‘Hello! My Name is Sticker’, cements the Nevada-based powerhouse as unreckonable evocateurs of caustic catharsis.

Formed in Las Vegas in 2019, Sticker, led by vocalist and guitarist Dennis Fija, alongside drummer Carlos Daniel Herrera and bassist Jacob Anthony Hennagir, the trio rapidly distinguished themselves in the Las Vegas circuit with a raw, fuzzy punk sound steeped in a plethora of influences. ‘Making Mistakes’ marries the nostalgic grit of Nirvana during their ‘Bleach’ era with the melodic poise of Smashing Pumpkins, layered with the contemporary edge of bands like Fidlar.

The track’s relentless energy and piercing lyrics provide a mirror to the soul, reflecting the tumult of self-criticism and the liberation found in acknowledging fallibility. It’s more than just music; it’s a frenzied, sonic purge of pent-up emotions, driven by dissonant chords, catchy melodies, and harsh vocals that challenge social norms and delve into the theme of unreciprocated emotions.

As the centrepiece of their EP, ‘Making Mistakes’ is the perfect introduction to Sticker’s gritty domain of rhythmic rebellion, proving that sometimes, the most profound reflections are found in the echoes of our errors.

Making Mistakes was officially released on September 8th; stream the single on Spotify now.

Review by Amelia Vandergast

Nostalgic Smells shredded through reality with the distortion in his latest single, Unfounded

Nostalgic Smells ventured deeper into shoegaze territory with Unfounded, by constructing oscillating walls of sound that hit with the same force as My Bloody Valentine’s heavier tracks. The distortion pulls you into the undercurrent like a relentless tide as the solo artist’s signature distinctive vocals rise above the chaos, offering clarity through the rancorous sonic storm.

The middle eight introduces a twist of fate for the single, proving Nostalgic Smells can riff with the best of them. The searing guitar solos slice through with white-hot precision, adding new alchemic waves to the tide of this immersive installation of ingenuity which draws influences from Cave In and Mastodon while combining ferocious energy with cultivated songwriting, weaving themes of alienation and displacement into every progression.

Lyrically, the chorus hits a bittersweet note, urging listeners to hold on to life’s fleeting moments – a sentiment that cuts through the digital distractions and empty noise of today, giving the track an edge of sonic and philosophical reckoning.

Stream Unfounded on Spotify now.

Review by Amelia Vandergast

Reservations at 8 – Come Around: A Visceral Anthem of Disparate Desolation

Come Around / Not So Easy St by Reservations at 8

Reservations at 8 unleashed a formidable force in their double A-Side release, “Come Around / Not So Easy St.” This sophomore installation from the Massachusetts-based trio drenches listeners in a sea of distorted melodies that gnaw deep into the soul.

The hybridic beast of a synthesis of grunge, no-wave and pop punk in Come Around created the ultimate anthem of disparate desolation which thrives on visceral hooks that intertwine seamlessly with Peter Tuohy’s vocal onslaught.

The single encapsulates the agony of clinging to the ephemeral, with guitar solos that mourn like the final throes of a resigning hopeless romantic. If you’re all too familiar with the tumult of fading futures and the strife of holding onto the slipping threads of hope, find swathes of resonant consolation in this antagonised earworm.

Since forming in 2019, Reservations at 8 has evolved from covering bands like Green Day and Nirvana to defining their unique sound—a cagey cocktail of power rock and pop imbued with their idols’ spirit. Now entrenched in the local Massachusetts music scene, the trio aims to transcend the preference for covers in bars and make an indelible mark with their original material. With several tours and a growing following, they stand at the cusp of their creative zenith

Stream and Purchase Come Around on Bandcamp now.

Review by Amelia Vandergast

Lie awake in the illusory land of Mindless Crowd’s new wave seminal release,  ‘Dreamscape’

With their desperately anticipated LP, Wanderlust, released on 30th August, Mindless Crowd stand as innovative new-wave indie architects; if you’re always looking for new ways to explore this vain of sonic nostalgia, let Mindless Crowd be your guide with the standout single, ‘Dreamscape’.

‘Dreamscape’ may not deliver your quintessential dreamy ambient aesthetic, but who decided dreamscapes are unanimous in tonality anyway? Mindless Crowd orchestrated their own chimaera with the reverie of angular jangle pop guitars that resonate with the perpetually influential rhythms of Johnny Marr and echoes of Iggy Pop through gruff, spoken-word style vocals that strikingly juxtapose the vibrant tones of the instrumentals.

As the track evolves, the guitars transition in the middle eight, creatively adorning the track in veritable rock n’ roll stripes. The vintage-toned lead work ascends to what can only be described as guitar porn, embodying the perfect melodic narrative switch for indie fans always on the lookout for boundary-pushing new-wave indie sounds.

Emerging from Geneva, Mindless Crowd has evolved from covering rock titans like Pink Floyd and Led Zeppelin to crafting their original material. Formed in 2012 by school friends and driven by a blend of nostalgia and innovation, the band—comprising Alex, Julien, Gaël, and Lucas—has grown a significant following, propelling them forward with over 150,000 listens on Spotify.

The album ‘Wanderlust’ encapsulates this growth and exploration, offering a mix of motivation, disillusionment, success, and failure, reflecting the winding journey of introspection the band describes.

Mindless Crowd’s LP, Wanderlust, is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

ARCTISKY Talks Music Therapy in an Exclusive A&R Factory Interview

In this interview, ARCTISKY opens up about how his passion for mental health awareness is deeply woven into his sound. He speaks candidly about his personal experiences, shedding light on the importance of positive self-talk and its impact on mental and physical well-being. His commitment to mental health isn’t just a topic he touches on—it’s the foundation of his music. Through his lyrics and soundscapes, ARCTISKY offers listeners a space for reflection and healing, blending his emotional depth with eclectic influences, creating something deeply personal and powerfully poignant. 

ARCTISKY, your latest single, My Relief, which hit the airwaves on September 6th is inexplicably sublime. We’d love to dig into the emotional underpinnings. Were there any personal experiences which inspired the track?

Yes, definitely! I’ve had to channel experiences from some extremely strange and dark places. Funnily enough, when I wrote this song, I was still in a state of not being able to understand this side of the emotion spectrum fully. Whenever I was dealing with anything, I’d usually work through these things with the help of music ‘cos I felt like self-reflection was what I needed over anything.

We always get bombarded with so many different opinions of how you should treat yourself and others, we usually tend to lose sight of what’s the healthiest thing for our mind, body and soul. This song quite literally came out of two different times I was admitted to the hospital for health complications I faced during lockdowns, where the last visit was close to being a fatal call. These things give you quite a bit of perspective on how you may want to spend your time on earth.

What was the core message of the song?

“Self-talk matters.” Yeah, I cannot emphasise enough how important it is to mind how we speak to ourselves. A lot of us are not mindful of what our internal dialogues are saying to us. If left unchecked, your mind is susceptible to all sorts of hijacking, and it’s quite literally like training a muscle. We must make it a priority to be our own best friend first, otherwise, the mind will absorb fear and doubt from the haters and naysayers around us, and use it as jet fuel for self-sabotage. It really doesn’t help when people around you are enforcing these, even if it’s just mindlessly repeating some things they’ve heard. It’s crucial for us to safeguard what we allow into our minds so that we don’t let others affect our thinking.

We must be able to judge what’s best for our own health and mental well-being. If our minds are getting too overwhelmed, they will manifest into physical illnesses. The mind and body work hand in hand – it’s all connected. You can’t have a healthy mind without a healthy body, and vice versa – it’s ignorant to think otherwise. Once you get your mind and body right, the soul naturally follows. It’s all a flow. We should do our best to eliminate all internal suffering and convert or channel that energy into the positives we can bring to the people around us. Positive self-talk is key.

How important is it for you to advocate for mental health awareness through sound?

I would say it’s what gives these projects their foundational pillars. I grew up in the Maldives, where the concept of mental health has just only started taking off at a rapid speed. I feel like it’s mainly due to the highly conservative side of the population that would shut anything up before it could even be discussed. I always saw a lot of people suffer due to this – where the prison system never treats the mental illnesses of the prisoners, and are run through what’s more identical to a brainwashing program on the weak – which in turn breeds a lot of mentally unstable victims of injustices to be released back into society without the proper care or systems in place to actually heal them. It’s extremely dehumanising, and inhumane in my view. The whole prison system is a wreck, and doesn’t even abide by ‘The Nelson Mandela Rules’. Demonised for basic human shortcomings, and anything that’s not in line with what they say, and all of a sudden you’re… It’s so f**kin’ sad, it’s ridiculous. Like quite literally using fear to bully an entire damn nation, and mental health is scrutinised as a weakness because the people in power are afraid that people may find their way to the knowledge that will help them arm themselves against these political manipulations and further efforts to prime social conditioning.

I honestly do not know where on Earth I’d be if it weren’t for music. Songs have spoken meaning to me, and some of the lyrics I’ve heard over the years have been a therapist to me more times than I can count. I’d always feel a whole lot of relief in my subconscious after spending a bit of time with some of my favourite songs.

What would you say to anyone who struggles to find self-compassion?

You’ve got to stay true to what you know is best for yourself, and then the people you love. Remember, you cannot love anyone else if you don’t love yourself first. The more we seek validation outside of ourselves, the further it gets away from us. The only form of validation we need in this world is our own. Once we can validate our self-worth to ourselves, there really isn’t a lot we need to do except guard our energy from those who may come to steal or drain it. You are going to be a reflection of the 5 people closest to you, so selecting your people wisely is crucial in my view. It’s better to spend time building yourself for a better future and life than trying to impress people you’re not even sure you like in the first place.

Most people hide behind masks, and it’s really not that difficult to move forward knowing that almost everyone’s got their own sh*t – so leading with love, respect, compassion and empathy not only makes it easier for yourself, but collectively allows us all to show each other a sense of love and care on a communal level. Always be kind to yourself first. The world is already full of so much suffering, and you shouldn’t be adding more pain and suffering to yourself with your self-talk. Stand up for what’s right, but don’t exhaust yourself in the process of fighting for something you have no control over.

Which artists did you draw influence from while orchestrating the single?

I feel like a bit of that old-school alt-rock/grunge may have influenced this track quite a bit actually. Okay, so here’s a blend of some influences that are in the ballpark – a bit of Daughtry, Pearl Jam, Alice in Chains, Nirvana, Staind, Chris Cornel, Linkin Park, Creed, H.I.M., Lifehouse, Seether, Velvet Revolver. Also slower tracks by Metallica, John Mayer, Bob Dylan, a bit of Johnny Cash and probably a lot of the official soundtrack from the ‘August Rush’ movie – I love all the tracks in that motion picture. The blend’s just full of so many different flavours – I do have trouble pointing out exactly what it is. I feel like it’s just one big blob of everything I grew up listening to if I’m being honest. I’ve lost track!

How did you interplay influence with your own artistic identity?

I just end up blending the sounds to a stage where I get my selected palette of sounds to communicate with one another in the tone of whatever emotion/mood I’m trying to get out of the music. I feel like a lot of the work that I do feels like painting with colours, and looking at sounds through the visual lens really helps me conceptualise what I’m working with.

Other than that, I feel like there is just no way something can’t feel authentic and soulful if it’s a projection of real and authentic experiences. I definitely do my best work when I’m channelling exactly what I was feeling in the moment of the experiences that I write about. It needs to be authentic and real. You need to be able to visualise exactly how you are feeling.

An artist’s own feelings and emotions are their strongest tools for originality, and I live by that. The type of work that I do is really not something I can rush, and I do have to let ideas simmer and even let them marinate for a while before I can treat them more. It’s funny cause I treat my music like they’re my children – it goes through all the stages ’til it grows up and is ready to move out.

We love the tonal juxtaposition the gruff spoken word segment introduces, what inspired you to include this in the track?

I believe it came from wanting to emulate a half-baked numb mood with the music. I ended up wanting to retrograde the chords in that section and still wanted to maintain that washy sound as much as possible. When I ended up reversing some of the guitar layer, and flipped it – it gave the whole section this laid-back and cruisy motion where I got to just throw some light and sexy licks on top. The washy ‘verb tying the guitars together is what really makes this section almost sound a bit wet and slippery, and slightly purple. The message reflects a bit of a questionable dialogue with oneself before going down a very interesting rabbit hole (rabbit holes that open up the doorways of perception-type things).

Who did you work with on the production?

I played everything on this track and produced all of it, like most of the songs on this album (unless I want to have that unique flavour for BVs, unique instrument features, or if it’s a collaborative track). In addition to that though, I always pass my work on to my trusted mixing and mastering engineer, Alex Emrich, who’s based in Canada. I completely trust him to take my tracks to the finish line, and working with him has always been a pleasure.

What’s next for ARCTISKY?

I believe I’m getting ready to take these songs out for live performances soon. Currently, I’m exploring how flexible I can be with the music that’s already written. I’m open to being flexible and reimagining my sound to suit whichever venue I may perform at, and cater that sound to the energy of the venue.

There’s been so much I’ve had to rewire about live performances from the ground up, and I know for a fact I won’t take these songs out to live venues until I’ve tightened up all loose ends on the performance side of things. Obviously, it’s in tiers when it comes to the scale of productions. How you treat one thing is how you treat everything, so yes, I’m definitely not just gonna do it for the sake of doing it! I’m still on the lookout for the musicians who will occupy the spots in my lineup – who will help me fully bring these ideas to life. I’m extremely pumped to see what lies ahead on this journey, and I’m just keeping my eyes on the target, no matter how wavy it may get. So yeah, hopefully a lot of good comes out of all this output!

Stream My Relief on Spotify now.

Connect with ARCTISKY to stay up to date with his latest releases on Instagram.

For more info, head to the artist’s official website.

Review by Amelia Vandergast

SugarFüt – Mirrors: Where UK Alt-Rock Hits Its Peak Power

In their sophomore release, Mirrors, the UK’s most promising emerging powerhouse, SugarFüt, reasserted dominance on the alt-rock scene with a kinetic anthem of sheer visceral innovation.

If you’re still mourning the loss of She Burns Red after they disbanded, this Hull-based four-piece is here to fill the void with a sound that is veritably their own. With scuzzy alt-rock riffs and chameleonic progressions, which splices the frenetic with the melodic Mirrors defies predictability. Just as you start to recognise pop-punk echoes, SugarFüt storms into fresh territory with each progression, pushing boundaries with every bar, leaving heads in a subverted spin.

Vocally, the track oscillates between imploring vulnerability in the verses and soaring dynamism in the chorus, seamlessly transitioning to illuminate the emotive depth of the timbre and the dualistic pull of Jack Moxon’s vocals. When paired with the interstellar peaks of their guitar-driven crescendos, Mirrors is enough to leave your heart in your throat. SugarFüt’s ability to riff with the same fevered energy as Thee Oh Sees while capturing the immersive melodicism of Jimmy Eat World’s Futures era creates an addictive earworm which demands repeat attention.

Formed in Kingston-Upon-Hull in 2023, SugarFüt brings together frontman Jack Moxon, drummer Calvin Casey (formerly of Kira Mac), bassist Rory Myers, and guitarist Dave Measom. Their collective history in the Hull music scene and shared love for rock, pop, and punk culminates in an auditory assault that blends raw, emotionally charged vocals with gritty riffs, pulsating basslines, and thunderous drums.

By the time their debut album drops, they’ll be one of the hottest acts on the UK rock circuit. Keep them on your radar.

Mirrors was officially released on August 16 and is now available to stream on Spotify.

Review by Amelia Vandergast

Mars Playground carried an arsenal of earworm potential in his alt-pop hit, ‘S.O.S.’

Mars Playground, helmed by Chris Dixon, embarked on a bitter-sweet alt-pop exploration of angst and existential rumination with his latest track, “S.O.S.” The South Florida native melded the nostalgic beats of mid-2000s hip-hop with the crisp innovation of modern bedroom pop, set to the pace of hyper-pop while touching the raw nerve of pop-punk to craft a boldly original sonic profile worthy of drawing comparisons to the likes of Dominic Fike and Post Malone.

The icon of genre fusion synthesised trap’s rhythmic dynamism and indie’s subtle introspection to create a masterpiece of modern sound which oozes commercial potential. After initiating with percussive breaks that nod to the likes of Alexisonfire, the song subverts expectations with its euphonic pop aesthetics which envelop an emotional upheaval wrapped in a veneer of sticky-sweet melodies that cling relentlessly to memory.

As Mars Playground continues to chart a course towards critical acclaim, S.O.S. is yet another testament to the resonance of his boldly candid sound. The universal plea for solace amidst chaos sends a lifeline, woven with the threads of his vibrant, varied influences and the unvarnished truths of his journey.

S.O.S. hit the airwaves on August 28th; stream the single on Spotify now.

Review by Amelia Vandergast

Ami Leigh salved the souls of the romantically jaded with her pop-rock anthem, You’ll Find the One 

‘You’ll Find the One’ is undoubtedly an expression everyone has heard in their darkest hours of romantic despair; yet, with her latest single which carries that mantra, the chameleonic singer-songwriter Ami Leigh augmented the consolation with soul-infused, rock-licked conviction.

By carrying the same artful visceralism as The Last Dinner Party in the pop-rock crescendos which drench the anthem in 80s nostalgia and entwining the high-octane elements with tender echoes of introspective 90s indie pop, You’ll Find the One will leave your heartstrings in knots while liberating you from anxiety and assumption you will die alone without another soul to call home.

You’ll Find the One may be a sonic departure from the artist’s previous hits, but with the same sense of affecting soul running through the veins of the single, it is yet another attestation to Ami Leigh’s ability to unify and heal through sound.

You’ll Find the One hit the airwaves on August 23rd; stream the single on Spotify and YouTube now.

Review by Amelia Vandergast