Exhibiting the artistic freedom of a mind that knows no creative constraint, the 20-year-old dark electro-pop producer and visual artist khokkosh. used her seminal single, ‘pelicaning’, prised from her sophomore two-track release, ‘pelicaning./a duck, a bear, and I.’ to conjure a macabrely avant-garde aural installation that haunts the middle ground of Poppy and Billie Eilish.
By mainlining the harsh elements of industrial into a hypnotically warped earworm which sonically mimics the effects of a trance spiral, the Indian artist found her place at the vanguard of the art pop revolution. The self-written, produced, mixed, and mastered computer-adjacent, thematically visceral synthesis of caustic beats and scathing synths explores the self-invented phenomenon of pelicaning; the act of caging words inside you until they are forced to erupt.
With this two-track release feeding into khokkosh.’s merciless agenda of piercing through the veil of inhibition, regardless of how ugly we may appear to others we expose our true unfettered autonomy, the revolutionary isn’t just one to watch, her fearless authenticity makes her an artist to admire and emulate.
Stream the official music video for pelicaning, which premiered on July 8th on YouTube now.
Everyone loves a good underdog story; a rags-to-riches allegory which proves that regardless of your starting point in life, there are no limits to success, which may go a fair way in explaining why every stratospheric music industry ascent in 2024 results in accusations of artists being media plants.
In this article, we will explore what an industry plant purportedly is, the artists that have been brandished with this label, how the phrase is often misused and why the buzzword is leaving such a bitter taste in music fans’ mouths in 2024.
What Is a Music Industry Plant?
A “music industry plant” is a term that’s often used, sometimes controversially, in the music industry. It refers to an artist who is presented to the public as being a self-made, organic success, but who actually has significant backing from a major record label or industry insiders. The implication is that the artist’s popularity and grassroots support are not entirely genuine, but rather manufactured or heavily assisted by the industry.
Here are some key points about music industry plants:
Hidden Support: The artist may have significant financial, promotional, and professional support that isn’t disclosed to the public. This can include high-quality production, marketing teams, and connections that independent artists typically don’t have access to.
Image of Authenticity: These artists are often marketed as having risen to fame through their own efforts, such as through social media, word of mouth, or self-releasing music. This creates an appealing narrative of an underdog or a breakout star.
Controversy and Debate: The term is somewhat controversial and can be seen as pejorative. It’s often used by critics or fans who feel that the industry is being disingenuous about an artist’s origins and support. However, others argue that all artists require some level of support and that the term unfairly delegitimises the artist’s talent and hard work.
Impact on Perception: Being labelled as a plant can affect how audiences perceive an artist, potentially leading to scepticism about their authenticity and talent. However, it doesn’t necessarily diminish their popularity or success.
How the Phrase ‘Industry Plant’ is Misused in the Music Industry
Eric Skelton’s article on Complex delves into the misuse of the term “industry plant”. Skelton explains that while the concept of industry plants is real, with music executives sometimes using their influence to promote artists, the term has been overused and misapplied to artists who quickly gain popularity, without clear evidence of label trickery or deception.
The article highlights that a true industry plant is an artist whose success is primarily due to industry connections rather than artistic merit or genuine fan interest. Skelton uses the example of 4Batz, a Dallas singer who became a sensation with just three songs. Despite accusations of being an industry plant, 4Batz’s rise was a result of viral success and not industry manipulation.
The article criticises the quick judgment of new artists as plants without substantial evidence, noting that the term is now used as a lazy dismissal of any rapidly rising artist. Skelton argues that the term’s overuse detracts from its original meaning and is counterproductive to understanding the music industry’s workings. He suggests that instead of hastily labelling artists as industry plants, people should focus on the music itself and decide whether they like it, rather than getting caught up in unproductive conspiracy theories.
Which Artists Have Been Tarred with the Industry Plant Brush?
Over the years, several artists have been accused of being industry plants, often due to rapid rises to fame or perceived sudden shifts in their musical style or image.
Here are some artists who have faced such accusations:
Billie Eilish: Due to her rapid rise to fame and the polished nature of her debut, some speculated that she had significant industry backing. However, Eilish and her team have consistently credited her success to her unique style and organic growth through platforms like SoundCloud.
Lana Del Rey: After her breakout with “Video Games,” some questioned the authenticity of her image and backstory, suggesting she was a creation of the music industry. Del Rey has been open about her struggles and journey in the industry, countering these claims.
Halsey: Halsey’s rise to fame, particularly after she collaborated with The Chainsmokers on “Closer,” led to some labelling her as an industry plant. She has spoken about her grassroots beginnings and the hard work that went into building her career.
Lizzo: Lizzo’s sudden mainstream success, especially with her album “Cuz I Love You,” led to some speculation about industry backing. However, Lizzo had been actively making music and performing for years before her breakthrough.
Travis Scott: Some have speculated about industry support in Scott’s rise, particularly given his connections with established artists early in his career. However, Scott’s unique style and production skills are often cited as the primary drivers of his success.
Post Malone: Post Malone’s quick rise after “White Iverson” led to discussions about whether he had industry support. Malone has talked about his journey and the work he put into his music before and after becoming famous.
It’s essential to approach the topic of industry plants with an understanding that the music industry is complex, and the path to success can be varied and nuanced.
The Controversy of The Last Dinner Party
In 2024, it is impossible to talk about music industry plants without mentioning The Last Dinner Party, the Brixton-hailing indie group, which has been described as a modern-day paradox due to the millions of pounds of marketing being poured into their inarguably artfully affecting music. Stream their 2023 hit single, Nothing Matters, once, and you won’t be able to fight the compulsion to keep returning to the earworm.
Given the gravitas of their music, there’s no denying they were worthy of their Rising Star Award bestowed upon them at this year’s Brit Awards after they became BBC Radio darlings opened for the Rolling Stones and Hozier.
However, The Last Dinner Party’s express route to notoriety isn’t the only source of contention surrounding the band after a misquoted statement suggested that people no longer wanted to hear about the cost-of-living crisis in post-punk music.
Criticism surged through social media, accusing the band of being out of touch, especially considering the lead singer, Abigail Morris’ background from the affluent Bedales School. Bassist, Georgia Davies, who initially made the statement while discussing the scarcity of bands at the Brit Awards, claimed that the statement was used out of context, and in her original statement she wanted to emphasise how people are seeking escapism in theatrical music amidst a challenging political climate. She emphasised the band’s awareness of their privilege and their passion for supporting independent music venues and artists from marginalised backgrounds.
Why Music Fans Are So Averse to Industry Plants in 2024
In 2024, the aversion to music industry plants stems from a growing awareness and appreciation of authentic artistic journeys, especially in an era where social media has amplified the visibility of independent artists.
When industry plants use a facade of grassroots growth, the perception of inauthenticity clashes with the values of transparency and genuine talent. The frustration is further heightened by the visibility of numerous talented artists who tirelessly work to build their careers without significant industry backing.
Social media platforms have made it easier than ever to witness the struggles and successes of these independent artists. Fans can now follow an artist’s journey from their early stages, often involving years of hard work, setbacks, and gradual growth. This direct connection and the transparent view into an artist’s development foster a deeper appreciation for their efforts and achievements. In contrast, industry plants are often seen as bypassing this struggle, gaining unfair advantages through connections and financial backing. This can be perceived as undermining the meritocratic ideal that the best talent, regardless of background or connections, should have the opportunity to succeed.
The visibility of hardworking artists on social media, who may struggle to gain recognition despite their talent, underscores the perceived injustice of the industry plant phenomenon. It’s a narrative of authenticity versus manufactured success, resonating deeply in a culture that increasingly values genuine artistic expression and the democratisation of opportunity in the music industry.
Every talented band who isn’t getting paid their dues in the industry will have been told, ‘all you need is one lucky break’ by well-meaning fans and politely agreed, meanwhile knowing that all they really need is millions in marketing money at their disposal. So is it any wonder that artists who rise to fame and get all the backing they could possibly need are posited as the natural enemy of the average independent artists tolling the dilapidated fields of the music industry? The same goes for promoters who pour their blood, sweat and tears into promoting an artist only to be ignored by the gatekeepers such as the BBC and NME.
With her diaphanous debut single, Talk About It, the alternative singer-songwriter, House of Asha, broke the silence and stigma which often stifles the conversation around mental health in South Asian communities.
It is one thing to be candid when there will be no negative consequence or connotation, it is quite another to defy culture to break the cycle of generational trauma. The mellifluous dream-pop synthetics are a sublime pairing for the harmonically poised bleeding vocals, which effortlessly coalesce with the shoegazey dream-pop layers that will leave your rhythmic pulses on a plateau while the lyricality leaves you grounded.
Talk About It is the first single to release from House of Asha’s debut LP; it set the bar for what is to come, although, our faith is well-placed in the elevated grace of the songstress who scores her melancholically demure tracks around influences from the likes of Imogen Heap, Billie Eilish, Hozier and Young the Giant.
You can check out the debut single, Talk About It, from House of Asha via SoundCloud or stream the official music video on YouTube.
If you like your electro-pop dark, moody, and Avant-Garde, YME’s latest vindicating artful earworm, ENEMY, is a viciously hooked hit that will reel you in hook, line and scintillating sinker.
Never one to mince her lyrics, the Netherlands-based songstress who exudes the experimental spirituality of Bjork and a sense of conviction that leaves her in a hell hath no fury league of her own, is in the habit of cutting right to the core of vulnerable emotion and proving just how much power resides within the protagonists who wear their hearts on their sleeves. All too often, abusers mistake their ability to beat people down as a sign of strength; YME dispels that insipid myth with her highly originated demure style and candour.
Ahead of the launch of her sophomore album, the Yorkshire bedroom pop artist and producer, Mayshe-Mayshe (Alice Rowan), has painted the airwaves in ‘Indigo’.
With a sense of spirituality in her artfully hushed choral vocals as they meet the dreamy art-pop melodies weaved on vintage synths and the skittish yet absorbingly organic percussion, the ethereal allure of Indigo shouldn’t be underestimated. Lyrically, Indigo inspires the listener into embracing the uncertainties of life and reminds them that there is always another side to exhaustion and ennui.
Indigo may be technically lo-fi, but Mayshe-Mayshe created a feat of indie dream pop that could easily rival Warpaint, Beach House and Deer Hunter. It comes as no surprise that many of her fans return to her anxiety-quashing sound time after time.
Mayshe-Mayshe’s album, Indigo, will release across all major streaming platforms on November the 11th. Indigo, the single, is now available to stream on Spotify and YouTube.
Contrasting the warm climate that she hails from, the 23-year-old Australian singer-songwriter, Georgia Jones, unleashed a sombrely cold serenade with her debut single, Ruins.
With a penchant for poetry and influences from Taylor Swift, Lorde, Bon Ivor and Billie Eilish, Georgia Jones found her signature somewhere in between her inspirational artists. From the bruisingly raw lyricism of Eilish, the tender melodicism of Bon Ivor and the stylishly melancholic edge of Lorde, Ruins serves as a candidly contemporary introduction to the artist, who frequently traverses fear as the prevalent theme in her music. Considering that there’s little else but fear in the atmosphere these days, you would struggle to find a more timely release.
As far as pop debuts go, Georgia Jones left nothing to be desired – apart from the sophomore single.
Ruins was officially released on August 12th; stream it on Spotify.
Californian singer-songwriter, Natalie Lane, has released her most captivating single to date with ‘Lonely’. The experimentally stormy production of the atmospheric downtempo ballad amplifies the intensity of the confessionally raw single to a visceral degree.
With a sonic style that sits in between Angel Olsen, St. Vincent and Billie Eilish combined with hints of bluesy Americana, Natalie Lane’s alchemic single hits like no other. It’s heart-wrenching tracks like this that take the stigma away from the admission of loneliness. Given that loneliness is a fundamental part of our human existence, we’re sure the weight in this track will resonate with anyone that takes a chance on it.
The official video for Lonely premiered on October 2nd; you can check it out for yourselves via YouTube.
Pop artists are often guilty of perpetuating toxic female stereotypes through their lyrics; refreshingly, with her debut single, ‘To Be a Girl’, London-based singer-songwriter Tyla Jay gave a far more relatable account of femininity.
While her sonically compelling sound is well and truly her own, the 20-year-old singer-songwriter takes influence from a dynamic array of artists, from Billie Eilish to Beyonce, from Aretha Franklin to Adele.
The amalgamation of eclectic inspiration allows Tyla Jay to bring an old school style of soul to release paired with a relatable, modern air. The contemporary feel mostly resonates through the lyrics which explore insecurity and scribe battles with self-scrutiny when we’re trying to find the self-acceptance that we pretend comes so easily.
Perhaps most admirably, Tyla Jay allowed To Be a Girl to unfold as an empowering and uplifting release despite the lyrics that scratch far beneath the surface on a subject that is already so raw for so many women. She has exactly what it takes to become one of the most inspiring pop artists of our generation.
To Be a Girl is now available to stream via Spotify.
London-based Pop Singer/Songwriter RYA has recently released her new single ‘’Impasse.’’ With a poignant meaning and a rather modulated sound.
Impasse pulls you in, with it’s calming yet ambiguous melody, RYA has an incredible vocal range, her voice is very soothing and easy to listen too, it’s a perfect pace and the right amount of pitch is added. It’s a track that gives Pop this whole new modernised sound as we enter into a new era of more developed sound for specific musical genres and this definitely stands out.
It’s very much expressing the feeling of being stuck in your own head, feeling like you are not doing enough and going through a traumatic break up, it is filled with roar emotion and empathy.
Rya sure knows how to create a track that has these honest lyrics, ones that really express how she feels and not only that but the melody that goes along with it is that similar up-beat rhythm but then you can hear a more choir-like sound as a trumpet cuts through the vocals.
Impasse is a song that you can’t help but have on repeat, it’s one you need to add to your playlist. After listening to this, we can’t wait to see what the future holds for RYA.
Be sure to check out RYA’s new single on SoundCloud now!
Five-piece band Dropping Julia based in Virginia have dropped their single ‘In the Clear’, infusing their Funk Rock and Neo-Soul sound.
Starting with that insanely funky riff on the guitar, adding in the high-pitched tone from the trumpet. Combining all these elements to give it that Funk sound that this band master so perfectly. The instrumentation starts off very smooth and quieter in volume, the overall style of the track is fairly calming and isn’t too in your face, even though it has the occasional Rock element that sways through it.
As it hits the middle the melody raises and the pitch begins to get louder and more overpowering as the sound through the trumpets stands out, The riffs tend to get heavier as the electric guitar has it’s moment to shine, giving it that Rock essence. The voice has an adenoidal tone to it, sometimes it’s quite raspy and in others it’s high-pitched, but the way they change their vocal ranges to suit the pace of the instrumentation is impressive.
If you’re into a bit of Funk Rock or you’re looking for new music to listen too, be sure to check this one out.
Go over to bandcamp to listen to Dropping Julia In the Clear now.
