Browsing Tag

indie-pop

Synthpop meets pop-punk in Crashes’ elementally augmented anthem, Living in the Future

Posted on 26 February 2024

Crashes may be ‘Living in the Future’ in their latest single, but there are plenty of ties to sonic nostalgia in their pop-punk meets jangly new wave indie synthpop hit that electrifies from the first synth-charged note.

The elementally augmented anthem is dynamically intense enough to run a power grid off, make you lose your head and the dancefloor and become your new favourite adrenaline-fueled earworm. If there were any more boxes to tick, Crashes would brandish their sonic signature right through them.

Living in the Future is a clear sign of how honed Crashes’ songwriting has become since their debut in 2017; you just can’t help getting swept up in the tumultuously hooked momentum. Following the success of their 2022 EP, Infinite, the track is set to seal the Glasgow-hailing band’s illustrious fate in the industry.

While other artists stop with new wave assimilation, Crashes are pouring their innovative volition, achingly honest emotion and curveball-throwing creativity into the high-octane mix, to a dizzyingly euphoric effect. Even with the antagonism and agony projected into the performance of Living in the Future, the ecstasy isn’t just heard, it resounds.

Living in the Future was officially released on January 26th. It is now available to stream via Spotify.

Review by Amelia Vandergast

Ava Valianti Became a Matchless Entity in the Music Industry with Her Turbulently Fervent Single, Middle Ground

Posted on 24 February 2024

Ava Valianti set the bar plateau-high with her debut single, Bubble Wrap; with her sophomore release, Middle Ground, the Massachusetts-residing singer-songwriter exhibited how honed her evocative approach to song crafting has become.

The striking tour de force starts with piano keys that would be right at home on a Radiohead LP or the Westworld soundtrack before the instrumental arrangement builds into a synthesis of moodily turbulent electronica and ornate orchestral motifs to reflect the disquietness of emotional upheaval.

The lyrical refrain of “I’m a broken record but at least I’m playing, music blaring louder than the pain” within the monumentally progressive release is a testament to how easily Ava Valianti reached the epitome of affecting alchemy.

Her vocal lines become an anchor in the instrumental storm and fervently resound through her artistic authenticity and determination to pour visceralism into every note of the intensely augmented release. She’s a matchless entity in the music industry, it’s only a matter of time before she ascends through the charts if she keeps producing tracks in the same phenomenal vein as Middle Ground.

Middle Ground will hit all major streaming platforms, including Spotify, on February 23rd.

Review by Amelia Vandergast

Neil Young meets Pixies in Ryanne + The Rumination’s seminal single, Waste

Posted on 21 February 2024

Indiana’s Ryanne + The Rumination hit the airwaves running with their stylistically expansive self-titled debut LP, which explores the spectrum of human emotions within the psychological ebbs and flows.

The standout single, Wasting, exhibits the duo at their most ethereally magnetic. Ryanne’s crystalline vocal lines cut right through the Pixies-esque atmosphere manifested through the guitar-driven production that exhibits the duo’s influence of Neil Young.

Intimate and profound in equal measure, the artfully immersive single evolves from a dreamy monochromatic release of pent-up emotions to a melancholically stirring alt-pop anthem that won’t fail to pull you into its raw oscillating core. If Ryanne + The Rumination’s is the future of pop, I’m here for it.

Ryanne clearly found her alchemic match in the multi-instrumentalist, Seth Wyatt. The way the single culminates in a post-punk decorated disquiet crescendo after a lament on the frustrations of stagnation is a stunningly affecting way to make an ever-lasting impression.

Waste was officially released on February 9th and is now available to stream with the band’s eponymous LP via Spotify.

Review by Amelia Vandergast

Olen Filipe – Home 17: Authentically Augmented Indie Pop

Posted on 15 February 2024

Swiss-based Portuguese artist Olen Filipe’s latest alt-indie-pop single, Home 17, is a firestorm of evocative momentum, alchemised through a stridently lush blend of introspection, innovation, and unflinching soul.

The exposition of the complexities of love and self-discovery is guided by Filipe’s tender vocals and mapped with his candour-fuelled lyrics which transpose aching emotion into nuanced storytelling. The stylised and authentically augmented production ensures that the only thing that’s raw about Home 17 is the visceralism within the expression, which has earned the singer-songwriter a devoted following since his debut.

Filipe’s subtle harmonies leave a profound impact as they juxtapose the oceanic evocative nature of the release, which echoes the pain inflicted by self-conflict. There’s no understating the affecting nature of the production as it simultaneously stirs and comforts your soul.

Influenced by artists like Bon Iver and Neil Frances, Filipe stands out with his distinct sound in Home 17, which stands as a testament to his commitment to crafting music that not only resonates with listeners but also invites them on a passionate, introspective journey.

Home 17 was officially released on February 9th; stream the single on all major platforms via this link.

Review by Amelia Vandergast

Royston Vasie – Creeping: A Melodic Renaissance in the Indie Landscape

Posted on 15 February 2024

If you have had your fill of indie landfill, cleanse your sonic palette with the latest release, Creeping, from Melbourne’s most affecting melodicists, Royston Vasie.

With synth melodies sweeter than honey/Grandaddy, soulfully sludgy ennui in the same vein as Dinosaur Jr, sweepingly angular guitar licks that give Johnny Marr a run for his money and a modernist touch as a courtesy of the Jaws and Peace-esque indie accordance, Creeping is a smorgasbord of influence which amalgamates to portray Royston Vasie as one of the most promising up-and-coming artists on the airwaves in 2024.

After releasing their first two albums through Courtney Barnett’s now-defunct label, Milk! Records, Creeping marks a shift in their musical style, which previously oscillated between the garage ethos of Black Lips and the shoegaze of early The Brian Jonestown Massacre.

If the outro leaves you aching for more, mark your calendar for the release of the fourpiece’s upcoming album, Through the Canopies, which will arrive on May 15.

Creeping will inch its way onto the airwaves on February 15; stream the single on SoundCloud.

Review by Amelia Vandergast

Romantic Rhapsody on Airwaves: Allen Miller’s ‘People Pretending to Be You’ Melds Indie Pop with Cinematic Love

Posted on 9 February 2024
Allen Miller

Allen Miller took the romantic comedy from the silver screen to the airwaves with his latest narratively panoramic indie-pop love song, People Pretending to Be You. The heart-in-throat hit jangle pops in the same vein as The 1975, carries all the sticky-sweet earworm potential of a Taylor Swift chart-topper, and flows with a flood of emotion, emanating the pop panache as Harry Styles.

To round off the influential smorgasbord, you’ll also succumb to the stylistic sonic gravity, which pulls you in with the same visceral pull of the snappy moody beats featured in the boygenius discography. Yet, the melodies and vocal magnetism fall by the wayside when you lock into the cunningly tender poetry within the lyricism, which proves that Allen Miller is a writer first and an artist second.

Exploring the sensation of everything falling into place as your soul cohesively connects to another, Allen Miller reached the paragon of romanticism by putting his heart on his guitar strings and paying such an affecting ode to the ethereal feeling that most screenwriters fail to sincerely capture.

People Pretending to Be You will be available to stream on all major platforms, including Spotify, from February 9th.

Review by Amelia Vandergast

Sugar Crease – Lemon Cake: A Histrionically Vortexical Indie Neo-Pop Odyssey

Posted on 1 February 2024

Lemon Cake by Sugar Crease, extracted from their sophomore LP, Lemon Warhead, is a neo-pop odyssey that redefines the boundaries of indie with its baroque-esque indulgence and kaleidoscopic layers, which transform the mundane into a fever dream of sonic extravagance.

The way the vortexical instrumentals weave through the track is reminiscent of a grand ‘let them eat cake’ gesture, opulent and unapologetically bold. At the heart of this auditory vortex lies the crooning indie vocals, serving as a gravitational pull amidst the whirlwind of sound. As a cohesive whole, the track is so compelling that it could make even Mike Patton’s work seem pedestrian by comparison.

Despite the histrionic effects, Lemon Cake possesses a deep, compelling quality. It’s a sugar fix of an indie single that appeals to a wide range of listeners, from fans of the Walkmen to devotees of Magazine. The track is a testament to Sugar Crease’s ability to blend the whimsical with the profound, creating music that resonates on multiple levels.

Sugar Crease, originally a musical therapy group, has evolved into an indie powerhouse. With their recent decision to push their music and prepare for live performances, they have added a new dimension to their artistry. The addition of guitarist Mark Finch, instrumentalist Andrew Preston, and drummer Richie Gradwell has completed their lineup, leading to sold-out gigs and a growing fanbase. We can’t wait to hear where they go from here.

Stream Lemon Cake on Spotify.

Review by Amelia Vandergast

Marilyn Joy conjured affectionate innocence in her sticky-sweet synth-pop score. HeartSchool

Posted on 28 January 2024
HeartSchool by Marilyn Joy

Marilyn Joy’s latest single, ‘HeartSchool’, is a sticky-sweet journey back to the innocence of first loves and schoolyard romances. This London-based artist, known for her alternative pop/rock flair, has once again captured our hearts with her quintessentially quirky style.

The lo-fi polyphonic pop vignette is a sweet, nostalgic trip down memory lane, guided by tender melodies which evoke the simplicity of young love, untouched by the complexities of adult relationships. Marilyn’s playful vocal timbres weave through the melody like a gentle reminder of days gone by while bearing reminiscence to the uninhibitedly expressive air of the Legendary Pink Dots.

Marilyn’s influence in the London music scene is evident in her live performances, described as ‘exciting’ and ‘unpredictable’. The track is a testament to her ability to blend genres and influences, from Blondie to Starsailor, into her distinctive sound.

With her previous releases, including ‘Crystal D’Arke‘ and ‘Killjoy Was Here’, she has consistently demonstrated skill in crafting songs that resonate with a wide audience. ‘HeartSchool’ continues this trend, solidifying her place as a significant voice in the alternative pop/rock genre.

HeartSchool is now available to stream and purchase on Bandcamp.

Review by Amelia Vandergast

Shashaa Tirupati turned off the gaslight anthem and played her own indietronica masterpiece, ‘All About You’

Posted on 23 January 2024

Shashaa Tirupati has unveiled an installation of hypnotic indietronica that instantaneously seduces you into its gravity.  In the same way a narcissist’s magnetism is irresistible, the world-renowned singer-songwriter pulls you into her artfully beguiling exposition of the sanity-smothering experience of dealing with narcissism after being lured in by a gaslighting lothario.

Shashaa Tirupati’s aura in All About You is intoxicating in the same vein as Warpaint, Still Corners, and Widowspeak. Every vocal harmony and instrumental melody finds a new facet of your soul to stir as the demure vocal performance fights fire with avant-garde glamour.

The artist’s journey, from a multilingual playback singer to an independent music maven, is reflected in the intricate layers of this track. Trained in various Hindustani classical styles and proficient in over a dozen languages, Shashaa’s musical prowess is evident in every note. After following her passion, she broke into the industry under the mentorship of the legendary A. R. Rahman. This collaboration marked the beginning of a series of successful projects, including the National Film Award-winning “Vaan” from ‘Kaatru Veliyidai’.

All About You is a reflection of Shashaa Tirupati’s artistic evolution and her commitment to exploring new musical territories. With her roots in classical music and wings in the indie scene, Shashaa stands out as a multifaceted artist, continually pushing the boundaries of her craft. This track is a clear indication that her journey in music is one of constant innovation and heartfelt expression. With 9 million monthly fans on Spotify backing her, she’s an unreckonable force in the music industry.

All About You was officially released on January 19; stream the single on Spotify.

Review by Amelia Vandergast

Dylan Galvin painted a disparaging sign of the sonic times while firing shots at plastic pop acts in ‘How to Write a Pop Song’

Posted on 20 January 2024

Is there any better feeling than hitting play on a track and being greeted by lyrical depictions of the frustrations that keep you scathed? If you’re inclined to say no, you’re going to want to tune into Dylan Galvin’s latest hit, How to Write a Pop Song, where there are countless lyrical shots fired at the artists and producers cheapening the pop industry with every new ‘perennial pop earworm’.

The efficacious new wave synthpop hooks are buried under a myriad of lyrical layers which subversively make the single a revelationary exposition of how pop music has been plasticised and commercialised beyond recognition. With echoes of 80s greats in the same vein as George Michael reminding you of what pop used to be in its golden era fused with a modern synth aesthetic reminiscent of John Mayer, How to Write a Pop Song is a disparaging sign of the sonic times that will exhilarate you through the vindication you extrapolate.

With acerbic wit in no short supply, the track is a satirical triumph, especially with the inclusion of “choruses have got to big, thoughts have to be small”, and “just sing about your ex and how things used to be”. It was a bold move to be so damning of a genre he is contributing to, but Dylan Galvin more than pulled it off. While taunting the artists whose songs will be quickly be lost to history, he became unequivocally unforgettable.

How to Write a Pop Song will hit the airwaves on January 19; stream it on SoundCloud.

Review by Amelia Vandergast