Browsing Tag

Indie Pop Rock

Hotel Florentia squeezed 60s psych-pop into garage rock with their saturated-in-delay slice of eccentric reverie, The 11th Hour

The Italian pop-rock duo Hotel Florentia squeezed the psychedelia of 60s pop into their criminally underrated lo-fi garage gem, The 11th Hour, allowing listeners to revel in a slice of indie reverie that matches the sublimity of The Maccabees and the Violent Femmes.

With melodies that burrow their way straight into the soul and turn up the heat through the glow of wavy saturation and nostalgically sharpened hooks which imbue instantaneous accessibility and familiarity to the single, The 11th Hour is the ultimate introduction to the Lodi-based outfit which are no strangers to international stages.

Equally as sweet as the instrumentals is the sense of playfully unfeigned eccentricity which sees the single become so much more than the sum of its parts. If Pavement never fails to leave you enamoured with their zanily electric vignettes, prepare to fall head over rhythmic pulses for The 11th Hour.

The 11th Hour is available to stream on all major platforms, including SoundCloud.

Review by Amelia Vandergast

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

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

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

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

Maverick Smith on Embracing Chaos in Music and Life

Maverick Smith’s LP, With Friends & Imperfections, presents a resonant exploration of the intricacies of human emotion through the lens of musical collaboration. In this interview, we explore the profound themes encapsulated in his work, where each track stands as a testament to the fleeting, contradictory nature of life itself. Maverick’s return to music after a decade illuminates his journey towards rediscovering the joy of creation, underscored by a desire to produce something authentically raw and vividly real. The album stands as a heartfelt ode to the unpolished, chaotic beauty of life, woven together by the diverse talents of 22 musicians. This fusion of experiences creates a unique sonic palette that challenges the sterile precision of digital music production, favouring instead the visceral energy of live performance

Maverick Smith, welcome to A&R Factory! Thanks for the opportunity to sit down with you following the release of your debut collaborative LP, With Friends & Imperfections. What’s the story behind the album?

Thank you! The album was born out of a desire to reconnect with the joy of making music after a decade away. Creating something that felt raw, unfiltered, and human. It wasn’t just about crafting songs, but about bringing together people I admire and just enjoy hanging out with, including 22 incredible musicians, to make an album that reflects the imperfections and beauty of music.

Each song was treated as its own record, and the album became this organic collaboration between old friends and new faces, which was incredibly therapeutic for me. It’s a mix of personal reflection and an ode to the messy, unpolished moments that make music—and life—worth celebrating.

We love how all reminiscences are fleeting in the tracks, was this an intentional familiar yet pioneering touch to the album or completely accidental?

It wasn’t something we set out to do, but I think it’s a reflection of how life feels to me—fleeting, yes, but also full of contradictions. The album asks you to remember certain moments, while at the same time, it asks you to forget, to move on. That imbalance, that imperfection, is what it means to be human. We’re constantly pulled in different directions emotionally. Some tracks capture that pure, joyful moment, like falling in love, while others deal with the harder side—loss, regret, or even just letting go of old ideals.

And then, sometimes, life is just about having fun, like with Spookshow, which celebrates our love of horror movies and the joy they bring. The songs weren’t designed to be perfect or neat because life isn’t like that. It’s messy, it’s contradictory, but that’s also what makes it beautiful. Through the writing and performance, we wanted each track to feel like a snapshot, a brief moment you hold onto, but one that ultimately passes—just like life does. So, while the fleeting nature wasn’t planned, it reflects the reality we all live in, and I think that’s what makes the album feel both familiar and fresh at the same time.

Bringing together 22 musicians to work on the album is quite an impressive feat; what were the highs and lows of working as part of such an expansive ensemble?

The highs were definitely the creative energy and unpredictability that each musician brought to the table. Having people like Ken Stringfellow (from The Posies, Big Star, and R.E.M.) and Paul Santo (from Aerosmith and Ringo Starr’s band) was surreal. They brought a level of skill and artistry that elevated everything.

And then you have a few wild cards like Lorne MacDougall, the world-renowned bagpiper, and Serg Accordio, the fantastic classically trained accordion player, to just name a couple, who added an unexpected but incredible layer to the music.

The lows? Well, coordinating that many creative people is like herding cats. Everyone has different schedules and creative processes, so keeping it all together was a challenge, but a welcome one. In the end, it was worth every logistical headache because the chemistry is undeniable.

With artists who had worked alongside the likes of R.E.M. and Ringo Starr in the ephemeral powerhouse, what brought you all together?

It really came down to a shared passion for making music that feels genuine and unfiltered. I wasn’t after perfection; I wanted raw, emotional performances that didn’t rely on digital tricks or auto-tune. A lot of the production and performances weren’t guided by music charts or sheet music. Instead, they were driven by conversations about our favorite bands and the artists that influenced us. We’d talk about the vibe of band or particular album or just the energy of a group or artist and how we could bring that feeling into the music.

A handful of the tracks were co-written with my collaborator, Skip, and that gave us a solid foundation for experimenting. The musicians I reached out to really connected with that idea of letting the music evolve naturally without being overly produced or commercially driven. The stars aligned, and we were able to create something real, something we’re all proud of.

What was the energy in the recording studio like?

Electric and chaotic in the best way possible! The energy was all about friendship and reconnecting with kindred spirits. The main goal for everyone was to have fun, and that became the true measure of whether things were working. If we weren’t having fun, we knew something was off. It was less about structure and more about letting creativity flow naturally. The vibe was relaxed and there were no rigid plans or pressure to follow any set rules, so if someone felt like adding an accordion or a bagpipe or even a triangle, we’d just go with it! The entire process was guided by that sense of joy, and it made for an experience that felt both easygoing and electric. It wasn’t about perfection; it was about capturing the moment and enjoying the ride.

Today, so much of the ‘magic’ happens post-production, yet with this LP, you can hear the unmistakable synergy and electricity of live performance. How important do you feel it is to produce sounds that you can replicate on stage?

It was crucial for us to embrace the imperfections and avoid sanitizing the sound. The album With Friends & Imperfections really reflects that—it’s raw, unfiltered, and intentionally a little rough around the edges. There’s a risk in doing it this way, especially today when so many tracks are “autocorrected” into perfection. But that’s exactly what we wanted to steer away from. We didn’t want to lose the human element of live performance, the moments where a note might be slightly off or the timing isn’t pristine, because those imperfections are where the soul of the music lives.

For us, the goal was to create something that feels real, something you can experience live and have it resonate in the same way. When we perform these songs on stage, I want people to feel the same energy, flaws, and all. There’s something magical in not hiding behind post-production and letting the music breathe on its own. It’s a bit risky, sure, because people are so used to polished perfection, but we wanted to capture the kind of connection and honesty that only comes with live, imperfect performances. That’s where the heart of this album lies.

Stream With Friends and Imperfections on Spotify now.

Interview by Amelia Vandergast

Midnight Affairs unleashed their infectiously erratic alt-indie earworm, Blame It on You

For their sophomore release, Blame It on You, the Auckland pop/rock trio, Midnight Affairs, launched a hyper-frenetic hit that affronts the senses with a glitchwavey saturated in delay electro-pop intro before bringing in sticky-sweet neon-lit synth carved melodies which transcend the new wave indie pop trends to implant the independent artist’s sound in unchartered territory few would be bold enough to sonically roam in.

The lamentation of how memories of infatuation can become unescapable haunting spectres which could lead the sanest of minds to the brink of madness anchors the high-octane anthem of mental disquietude in visceral resonance to vindicate the romantically scorned and attest to the independent artist’s ability to render raw emotions into their superlative sound.

The intensity of the production, how deep the hooks sink in, and the infectiously erratic earworm appeal of Blame It on You will undoubtedly see Midnight Affairs go far. With a 5-track EP due for release later this year, Midnight Affairs becoming New Zealand’s premier indie pop rock band isn’t out of the realm of possibility.

Blame It on You is now available to stream on Spotify.

Review by Amelia Vandergast

Kaciny – Happy Thoughts: A Soulfully Sardonic Anthem for the Melancholic Soul

Kaciny’s debut single, Happy Thoughts, immediately strikes the senses with its pop-punk-esque staccato guitar chops before erupting into an anthem impaled by indie jangle pop hooks. The euphoric production is affectingly juxtaposed with bittersweet lyricism, offering a protest against the trite rhetoric often directed towards those with a natural proclivity for melancholy.

Kaciny’s soulfully sardonic grace in addressing this phenomenon sets her apart from her contemporaries. Her ability to capture the essence of ennui while simultaneously critiquing societal pressures to remain perpetually upbeat delivers a potent shot of vindication for listeners who struggle with their own black dog. The earworm is a visceral ride through the rage-fuelled frustrations of wanting acceptance as you are, pensive tendencies and all.

Brooklyn-born and Mississippi-based, Kaciny grew up surrounded by a musically accomplished family, which heavily influenced her artistic journey. Her background, combined with influences from bands like Bloc Party and Paramore, and artists such as Santigold and Dionne Farris, shapes her unique sound. By the age of 20, Kaciny had already made her mark as a songwriter for notable artists like Jordin Sparks and Chris Brown.

Happy Thoughts is a testament to Kaciny’s stripes as a storyteller and musician. This flawlessly fierce alt-indie pop-rock release is so much more than the sum of its sonic parts. It’s an opportunity for listeners to reclaim their true identity and celebrate the beauty in feeling deeply as an involuntary rejection of superficiality.

Happy Thoughts will be officially released on June 28; stream the single on SoundCloud.

Review by Amelia Vandergast

The Serenity Club launched an attack of anthemic alt-rock reclamation with ‘Taking Back My Life’

The Serenity Club

With pop-fuelled alt-rock choruses that will be euphony to be the ears of the Foo Fighters between verses that reanimate rugged 90s Britpop swagger, The Serenity Club’s latest single, Taking Back My Life, is an unforgettably emboldening anthem of reclamation.

The high-octane synthesis of volition, redemption and serotonin is set to put the London-based triadic powerhouse on the map ahead of their debut five-track EP, Obsession Submission, which is due for release later this summer. The timely release of the single also means that it incidentally coincides with the General Election; I couldn’t think of a better track to listen to on the way to the polling station.

Hints of 90s-era Manic Street Preachers (think along the lines of Slash n Burn, You Love Us, and Kevin Carter) resound throughout the vivaciously fuelled guitar licks and the razor-sharp hooks that don’t stop at pulling you into the centre of this intensely liberating hit. They open the doorway to one of the most determined-to-embed earworms you’ve ever encountered as they work alongside the unflinchingly dynamic vocals of Mit Inajar.

With an exhilarating sound that Wembley Stadium could scarcely contain, The Serenity Club has exactly what it takes to take their career to stratospheric heights this summer; just try standing in their way.

Taking Back My Life will be available to stream on all major platforms, including Bandcamp, from June 28th.

Discover more about The Serenity Club via their official website.

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

London’s Forsylver became indie royalty with their latest release, Promethazine Queen

Launched to a capacity crowd at 93 Feet East in Shoreditch, the latest single, Promethazine Queen, from London’s hottest breakthrough indie outfit, Forsylver, is the perfect introduction to the expansively influenced outfit who have hit the ground running straight out of the gate.

With a vocal style that shifts between invokes the sticky-sweet euphonic magnetism of The Feeling harmonising atop the flares of funk in the eclectic indie-pop-rock tapestry to Arctic Monkeys-reminiscent cutting commentaries Forsylver’s distinctive style emboldens the sincerity within Promethazine Queen. From the Daft Punk-esque riot of a middle eight to the jangle pop guitars to the complex time signatures in the rhythm section, Promethazine Queen is a perfect circle of expression and innovation.

Instead of following trends, the fourpiece, fronted by Joe Ewer with Will Farrow carving out the funk-pop guitar chops, Alex McKenzie feeding the rhythms on bass and Shunya Matsumoto giving the percussion a Radiohead-art-rock flair, are etching their innovation into the tapestry of the future of indie.

Forsylver may have only been on the scene since late 2023, but they’re already an unreckonable force. With plenty more planned for 2024, they should be the epicentre of every indie fan’s radar.

Promethazine Queen was officially released on May 3rd; stream the single on Spotify.

Review by Amelia Vandergast

Rich Freed – Peace of Mind: An Indie Pop Rock Liberation from Introspective Oblivion

Rich Freed’s latest single Peace of Mind is a compelling narrative of internal conflict, wrapped in the nostalgic warmth of 90s Britpop influences. His style, in this track, reminiscent of icons like Oasis and the Stone Roses, injects a potent mix of indie pop-rock and a bluesy undertone into the bustling modern music scene.

The track pulses with an augmented, atmospheric production that escalates until it bursts into exhilaration in the stadium-ready choruses. The rhythm carries the confident swagger of Britpop while infusing it with a fresh, intoxicating energy that seems to speak directly to the soul. It’s more than just an earworm; it’s an electrifyingly vindicating sonic exploration of the human condition.

Lyrically, Freed offers lines that listeners will want to etch into their memories as he muses on the universality of self-doubt and introspection, making it relatable on a fundamentally human level. Every verse delivers a tattoo-worthy mantra, backed by an aura of bluesy rock n’ roll that transforms this high-octane anthem into a cathartic experience.

For anyone who’s ever felt at odds with themselves, Rich Freed’s “Peace of Mind” offers not just solace but a liberating, rhythmic release. It’s an anthem for the introspective, for those who seek peace in the chaos of their own thoughts.

Peace of Mind will be available to stream on all major platforms, including YouTube, from April 26th.

Review by Amelia Vandergast