Category: indie rock

New Audio: Mila Degray Returns with Confessional and Hook-Driven “Two Bridges”

Mila Degray is a Broward County, FL-born singer/songwriter and actor. Inspired by the likes of Pretty Sick, Alex G. and Melanie Martinez, Degray’s pairs brutally honest lyrics with a sound that blends elements of indie rock, alt rock, bubblegum grunge, streetgaze and pop rock. Her work reminds the listener that there’s power in self-discovery and vulnerability. 

Last month, I wrote about “Masculine Charm,” a track anchored around a hazy, lo-fi production, dusty and skittering beats, a fuzzy New Order-like guitar hook and the Floridian’s coquettish yet achingly tender delivery. While seemingly nodding at Soccer Mommy and Pom Pom Squad, “Masculine Charm” reveals an artist, who can craft an earnest, lived-in song with big, rousingly anthemic and catchy choruses hooks and choruses. 

Degray has had a rather busy summer: Along with the release of “Masculine Charm,” the Floridian artist opened for Isabel Larissa on her sold-out tour, and she made a cameo in the video for Charli XCX and Billie Eilish‘s “Guess (remix).”

Building upon a growing profile, Degray’s full-length debut, Silver Meteor 98 is slated for an October 18, 2024 release. The album’s first single “Two Bridges” pairs glistening synth arpeggios and industrial-like clang and clatter with Degray’s achingly tender delivery singing lyrics about a dysfunctional relationship fueled by distrust and betrayal. While being a stylistic left turn from its predecessor, the song sees Degray further establishing herself as an artist, who can pair confessional lyrics with a catchy hook, much like Soccer Mommy, Phoebe Bridgers and others.

New Video: Seafoam Walls Share Woozily Meditative “Humanitarian Pt. II”

Formed back in 2016, the acclaimed Miami-based quartet Seafoam Walls — Jayan Bertrand (vocals, guitar), Josh Ewers (bass), Josue Vargas (electronic drums) and Dion Kerr (guitar) — quickly caught the attention of undgeround music and art communities across South Florida a unique sound that they dubbed “Caribbean Jazzgaze,” a mesh of jazz, showcase, rock, hip-hop and Afro-Caribbean rhythms.

The Miami- based outfit exploded into the larger, international scene following a secret, all-ages matinee show with DC-based hardcore photographer Susie J. and Sonic Youth‘s Thurston Moore. Building upon a rapidly growing profile, the band released 2018’s R-E-F-L-E-C-T EP and 2019’s one-off “Root.”

2021’s full-length debut, XVI, which featured the A Storm in Heaven-meets-TV on the Radio-like “Program” was released through Thurston Moore’s The Daydream Library Series.

The Miami-based outfit’s sophomore album Standing Too Close To The Elephant In The Room is slated for an October 18, 2024 release through Dion Dia. The album’s title is partially derived for a metaphor for the often overlooked but significant challenges and complexes that people face in their lives. But it also is a warning about getting caught up in the details — at the risk of missing the bigger picture. “Everyone has an elephant in the room; an obvious problem in their life that everyone, including the person affected, knowingly looks past,” the band’s frontman Jayan Bertrand explains. “BUT, I say that one is standing too close, because the problem is more complex and their vision is too obstructed to see the bigger picture. So viewers are providing their skewed perspectives of the same problem. It’s an illustration of the areas in which intersectionality fails to meet.”

Standing Too Close To The Elephant In The Room reportedly represents a new chapter for the band: The album’s material not only showcases the band’s evolution as musicians, but it also solidifies their reputation as bounding-pushing artists, inviting the listener to a Technicolor mist of experimental influences and instrumentation. Continuing their commitment to full artistic autonomy, the band’s members took production duties, shaping an album that will reward those who will revel in its sweeping soundscapes, as thematically the material delves deeper into questioning the trappings of modern society and all of its contradictions.

The album’s latest single “Humanitarian Pt. II” is anchored around glistening guitar melodies and a relentless motorik-like groove and bursts of whirring synths. The arrangement serves as a lush and dreamy bed for Bertrand’s meditative vocal to sing philosophical lyrics that examines the motivation that makes us choose our paths — and how we go about those paths. Some people are drawn to the attention or superficial perks of an occupation, without understanding what it really entails. Through the song, the listener must face the very shitty reality that only certain efforts, from certain people get rewarded. Certainly, whether as a musician, a writer or a photographer, these observations are familiar, especially when you see others seemingly being much more successful at what you do, than you are.

“Before I picked up a guitar, I was simply a fan of music,” the band’s Bertrand explains. “Then, I began learning about the oppressive tactics of governments worldwide, and my world shattered. The entities of authority that assured me that everything they did was just were actually a key part of the problem. I started to believe that art was the only safe space in this cruel world. ‘Humanitarian Pt. II’ is about disillusionment. 
 
“I jumped into the music scene headfirst without realizing that the same tactics would exist. I then made it my mission to call out such tactics and question our societal norms like my favorite artists before me.
 
I’m still looking for an answer to all of my pressing questions, but it helps to be grouped with people with a similar mindset who have practical solutions. I gravitated towards Dion Dia records for our latest and upcoming releases because while everyone I admired raised great questions and awareness, Dion Dia presented a hopeful alternative.”

Shot on VHS, the accompanying video is a lo-fi, goofy and surrealistic romp that features the elaborately costumed band members playing different instruments in the studio — and it includes the group sing-a-along, clap-a-long montage.

New Audio: The Irrepressibles Share Slinky “Destination”

Jamie Irrepressible is a North Yorkshire-born, London-based singer/songwriter and producer. He’s also the creative mastermind behind The Irrepressibles. Throughout his career, the British singer/songwriter and producer has made sexuality — in particular, his sexuality — the centerpiece of his work.

2010’s full-length debut, Mirror Mirror featured “In This Shirt,” which was later included on the soundtrack for the short film., The Lady Is Dead. 2012’s “Two Men in Love” firmly cemented The Irrepressibles mastermind’s reputation for being fearlessly uncompromising in terms of song structure and thematic concern. In 2014, he sang the song at the first wedding between two men in the UK.

Over the course of the past decade, “In This Shirt,” “Two Men In Love,” as well as “The Most Beautiful Boy” were included on several films and TV shows internationally, including season two of Netflix’s Young Royals and Norwegian teen series SKAM.

Adding to a growing international profile, “In This Shirt” received remixes from Norwegian electronic outfit Röyksopp, Hercules & Love Affair and Zero 7. The British artist would subsequently contribute lead vocals to five tracks on Röyksopp’s 2014 album Inevitable End — “Something in My Heart,” “I Had This Thing,” “Here She Comes Again,” “Compulsion” and “You Know I Have To Go,” as well as backing vocals on “Monument,” feat. Robyn. He contributed vocals on two tracks of Dutch progressive dance duo’s 2022 album In Another Lifetime, “You Take My Hand” and “I Am Free.” He also contributed vocals on three tracks of Röyksopp’s Profound Mysteries trilogy.

As a solo artist, digital singles released between 2018-2020, “Submission,” “Dominance” and “Anxiety,” saw Irrepressible exploring a starker, darker and much more electronic direction, influenced by a relocation to Berlin, where he eventually wrote and recorded 2021’s Superheroes, “a concept album telling the story of a love affair that’s both set in Berlin and takes its musical cues from the city,” the British artist explains.

The British singer/songwriter and producer’s forthcoming The Irrepressible album, Yo Homo! is reportedly the most direct, most sexual album of his catalog to date — and a celebratory, uninhibited and steamy rush of lust, love, honesty and community. “I want to make a record specifically for the queer community, to create a safe space where people feel they are being expressed. To contribute something to that soundtrack of our lives, both in the music and the videos.”

Yo Homo! album single “Destination” is a slinky and sensual song anchored around a strutting guitar line, the London-based artist’s sultrily yearning cooing paired with a steady backbeat. The song ends with a Scott Walker-like orchestral coda, which adds a sexy and smart stylishness to the proceedings. Thematically, the song is about the longing for love in an era of hook-up culture and fast-paced intimacy. The song tells the story of a man living in isolation, going from one one-night stand to another, but desperately longing for deeper connection.

New Audio: Two New Tracks from Aussie JOVM Mainstays RVG

Acclaimed and rising Aussie outfit and JOVM mainstays  RVG — currently Romy Vager (vocals, guitar), Gregor’s and Hearing’s Reuben Bloxham (guitar), Rayon Moon‘s Marc Nolte (drums), and Isabelle Wallace (bass) — have released three critically applauded albums:

  • 2017’s A Quality of Mercy, which was recorded live off the floor at Melbourne’s iconic rock ‘n’ roll pub, The Tote Hotel. Initially released to little fanfare, the album, much to their surprise received critical acclaim both nationally and internationally, landing on a number of end-of-year Best of Lists. 
  • 2020’s Victor Van Vugt-produced Feral was released by Fire Records globally, excluding Australia and New Zealand, where it was released by Our Golden Friend. The album received breathless praise nationally and internationally, with Rolling Stone Australia calling the album “the record of a lifetime.”
  • Last year’s  Brain Worms, which won the Soundmerch Australian Music Prize and the AIR Awards Independent Album of the Year.

Since the release of Brain Worms the band has been busy: they’ve made the rounds of the global festival circuit with stops at SXSW, The Great Escape, Golden Plains, Rising Festival, Dark Mofo and Splendour in the Grass. The album received applause from Rolling Stone, The Guardian, Uncut, NME, Clash Magazine, MOJO and The Fader. The album also airplay from KEXP, Apple Music 1 and countless other outlets across the globe.

Just before the Aussie JOVM mainstays are about to embark on a headlining UK and European Union tour, they shared a double A-side single “Don’t Take It Badly”/”Pet Sematary.” Recorded at Soundpark Studios with Andrew “Idge” Hehir and mixed by James Trevascus, “Don’t Take It Badly,” is a slow-burning bit of jangle pop anchored around the band’s uncanny knack for rousingly anthemic hooks paired with Vager’s heartbreakingly earnest delivery and lived-in lyrics. “Don’t Take It Badly is a song about how change isn’t always a romantic thing and can sometimes feel pretty ugly. It’s a winter song that I wrote in the summer,” Romy Vager explains.

The other A-side single is a jangling and breakneck, yet fairly straightforward cover of the Ramones’ “Pet Sematary.” “We all love the Ramones” Romy states “And started playing this in rehearsal and it instantly clicked. The lyrics are such an underrated part of Ramones’ songs, there’s a lot of imagery in this song that I love dearly.”

New Audio: Mister Sunshine Shares Meditative Rock Ballad on Aging

Ben Whetsell is a New York-based producer, singer/songwriter, musician and former lawyer, who has dabbled in music for over 30 years. In the wake of the pandemic, Whetsell decided to go all-in music, starting his solo recording project Mister Sunshine.

Whetsell’s latest single, “Day’s Half Gone” was written and recorded, on-and-off over the course of 10 months at Berklee NYC, where he completed his Masters studies. The song is a slow-burning and meditative anthem, anchored around twangy, country-meets-southern fried guitars and ukulele, big rousingly anthemic hooks and choruses and shifting meters paired with Whetsell’s dreamily plaintive delivery.

“Day’s Half Gone” describes Ben’s difficulties as a developing songwriter. “The parts about aging – feeling like I let music get away from me – are some of the first things I wrote in the program, but that’s a dead end: it isn’t a healthy headspace, and it definitely doesn’t make for a good song,” Ben said. ”Getting loud and getting over it is a lot more interesting.”

New Audio: Bristol’s Make Friends Shares Breakneck “I Lose, You Lose”

Rising Bristol-based indie outfit Make Friends — Tom Andrew (vocals, bass), David Thomas (guitar), Connor Crabb (guitar) and Max Lewin (drums) — have toed the line between buoyant indie pop and left-of-center indie rock since their formation. Their previous releases have received airplay from BBC Radio 1 and BBC Music Introducing, as well as coverage from Clash Magazine, Under The Radar, Dork Magazine, Wonderland Magazine, The Independent, The Rodeo and more.

The band has been very busy this summer: July saw the band bring their live show to an adoring, capacity London crowd, following sets at Dot To Dot Festival and The Great Escape Festival. They also played some dates opening for Sundara Karma and PYNCH.

Building upon a growing profile, the Bristol-based outfit will be releasing their Ed Nash-produced EP Loaded Fun through Ignition Records. Slated for a September 13, 2024 release, Loaded Fun reportedly sees the band drawing from Bombay Bicycle Club, Phoenix, MGMT and Everything Everything while simultaneously pushing their sound into a new territory.

“These past two years have really been about exploring and experimenting with our writing and production,” the rising Bristol outfit explains. “We’ve been writing a ton, and along the way, we’ve noticed our sound evolving into something we’re really excited about. We wanted the new material to feel fresh to us while still capturing the spirit and energy of our influences. Having the chance to work with Ed has been a big part of that. From a writing and production point of view, it’s been really enjoyable and fruitful for how we’ve developed. Loaded Fun is a culmination of that time spent.”

Loaded Fun‘s latest single, EP closing track “I Lose, You Lose” is a buoyant and rousingly anthemic breakneck bop that sees the band juxtaposing bright, sunny pop with the churning despair and heartache of a relationship coming to a bitter, uneasy end. The song’s slow-burning, mellower coda is meant to evoke the peace in acknowledging that sometimes both sides will lose — bitterly. But somehow, you move forward.

“’I Lose, You Lose’ is a song about losing (shock)! The lyrics take you on a journey through anxiety and realisation that actually the person you’re with, wasn’t all you thought they were,” the band explains. “The songs upbeat verses and build sections, symbolises that feeling of losing control over your thoughts, running through every situation that may have lead you to this breakup conclusion. But alas, you found solace in this breakup. Knowing you did all you could. That constant fact in your mind … ‘If I lose you, you lose me.’ And somehow that made me feel better.”

New Audio: Silver Relics Share Hook-Driven, Jangle Pop-like “Blood Is Blood”

Founded by singer/songwriter Alex Sepassi back in 2017, New York-based indie outfit Silver Relics quickly established a sound that effortlessly blended classic and modern rock influences that ranged from the likes of The Beatles, Pink Floyd and Nirvana on their full-length debut, 2019’s Generic.

The New York-based outfit’s latest single “Blood Is Blood” sees the band gently expanding their sound with the inclusion of jangle pop in a way that reminds me a bit of Montréal-based JOVM mainstays Elephant Stone. And much like Elephant Stone’s work, “Blood Is Blood” is anchored around an uncanny knack for razor sharp, remarkably catchy hooks and smart songwriting. The song’s effortless nature belies a slick yet workman-like craftsmanship.

New Audio: Schande Shares Noisy and Rousingly Anthemic “Palimpsest”

California-born, London -based singer/songwriter and guitarist Jen Chochinov has been crafting catchy, propulsive rock in DIY circles since the 1990s as a solo artist and in full-bands. Solo and full adventures throughout her career have included a split 7″ with The Cribs and James Murphy’s pre-LCD Soundsystem band Speedking, playing the UK’s Indie Tracks Festival, playing Happy Birthday to Me‘s Athens Pop Festival.

Since relocating to London back in 2013, she has continued playing shows throughout the UK and US both solo and with her full band. In 2018 and 2019, Chochinov was a touring member of Thurston Moore‘s Guitar Ensemble, playing shows throughout the UK and Europe alongside Nøght‘s and Thurston Moore Group’s James Sedwards, My Bloody Valentine‘s and Thurston Moore Group’s Deb Googe, Sonic Youth‘s Steve Shelley, Thurston Moore Group’s and The Oscillation‘s Jim Doulton and Wobbly‘s Jonathan Leideker.

Chochinov is also the frontperson of the British-based noise rock outfit Schande. The outfit, which also features Italian-born Gio Vilaraut (bass) and Canadian-born Ryan Grieve (drums) will be releasing their full-length debut Once Around through Thurston and Eva Moore’s Ecstatic Peace Library’s The Daydream Library Series on September 27, 2024.

Inspired by the works of Hannah Arendt and Adriana Cavarero, One Around thematically focuses on notions of personal existence and subjectively. As Chochinov puts it, the record consists of “contemplations on the teh ways in which we do and do not disclose ourselves to each other, our responsibilities towards ourselves and others, and the ways we do or do not acknowledge the experience ion others. Mirrored by the band’s creative process, which often sees Chochinov writing the lyrics to instrumentals formed out of jams and group revisions, the album aims to explore the ways in which the most personal journeys depend on others, something the collective of expats navigate daily as they establish and reinvent themselves in their adoptive home of the UK.

Once Around‘s latest single “Palimpsest,” is a breakneck, New Wave-like ripper anchored around Chochinov’s angular guitar jangle, Villaraut’s driving bass lines and Grive’s forceful timekeeping. Chochinov’s insouciant delivery ethereally floats over the chaotic fray, seemingly emphasizing the indifference that the narrator’s expressing throughout. Sonically, “Palimpsest” recalls 120 Minutes MTV-era alt-rock, complete with rousingly anthemic hooks and choruses.

“I can’t help but hear the Siouxsie influence every time we play the song. Plus, let’s be honest, ‘palimpsest’ is just a great word,” Chochinov says. “I used a tuning I learned from my friend Darren who I had a recording project with years ago, forgot about it, and then when I started playing around with a 12 string guitar Thurston lent me it all came flooding back, like ‘oh yeaaaaaah. I wonder how this guitar would sound in that tuning?’ As it turns out, ‘rad’ is the answer to that question — just really dynamic and expansive and effortlessly creates a prismatic life of its own. Lyrically, the song reflects on patterns of behaviors that leave room for improvement.”

New Video: Sierra Spirit Shares Yearning and Wistful “bleed you”

Sierra Spirit Kihega is Tulsa-born, Connecticut-based Native American singer/songwriter, musician and creative mastermind behind the rising solo recording project Sierra Spirit. Storytelling is in Kihega’s blood. Growing up as a member of the Otoe-Missouria tribe and the Keetoowah Band of Cherokees, she spent afternoons and weekends driving around with her grandmother and visiting family on the reservation. With a black coffee in one hand and the steering wheel in the other, Kihega’s grandmother imparted life lessons through ancestral stories. “A central part of our culture is storytelling, and my grandmother turned everything into a beautiful story, big or small,” Kihega says. “I wouldn’t be the writer I am today if it weren’t for listening to her.”

Though she now currently resides in Connecticut, her music dwells with the red dirt of Oklahoma, where she was raised. “I’d always been a writer, but I started writing songs when I became very homesick,” she says. She missed long drives across flat stretches of arid landscape, the “insane sunsets,” and the proximity to family and community.

When she began sharing music online, she quickly found a community of fans, many of whom are fellow Indigenous creatives, who found kinship and understanding in the stories Kihega told. “There are things I need to heal from and it’s important to share, because I want other people who have experienced similar things to feel less alone,” she says. Before she signed to Giant Music, she had already earned both a growing fanbase and a critical acclaimed with the self-release of her first two singles “ghost” and “televangelic,” both of which appear on her debut EP. Those songs caught the attention of the Songwriters Hall of Fame, who recently awarded her a BMI Abe Olman Scholarship, which is given in the interest of encouraging and supporting the careers of young songwriters.

Kihega’s highly-anticipated debut EP coin toss is slated for an October 10, 2024 release through Giant Music. With coin toss, the Oklahoman-born artist renders a self-portrait in intimate detail, touching on themes of loss, addiction and mental illness. Inspired by artists like Julien Baker and Phoebe Bridgers, Spirit’s lyrics are frank vignettes. Although the collection of songs are personal, she stresses that the struggles she and her family have faced aren’t uncommon in Native communities.

“As a kid, I didn’t see an Indigenous experience reflected back at me in the media. Native people were always these outdated constructs in westerns,” Spirit says. “I want to be a voice for my community, amplifying that we’re still here. The culture is moving.” 

Kihega writes to memorialize people and experiences, but she also writes to overcome a history of mental illness. As a child, she was quiet and reserved, which made her fear she came across as unapproachable. “I had such intense anxiety that I spent my younger years keeping to myself out of fear of being misunderstood,” she says. Years have passed since, but Spirit still fixates on those lonely formative years when she felt like a self-described “pushover” and “kicked puppy” around her peers.

Earlier this summer, Kihega shared EP single “i’ll be waiting (pug),” which Flood called “a gentle and heartfelt appreciation for her late grandmother on the Cherokee side of her family, who went by the song’s parenthetical nickname.” The song draws on the Johnny Cash and country music she grew up listening to, while detailing the painful loss of her beloved grandmother, when Spirit was a teenager.

Featuring bursts of banjo and slide guitar, which nod to the country music she grew up with, the EP’s latest single “bleed you” is remarkably catchy tune that seems to bring Soccer Mommy and others to mind. But at its core is a nostalgic portrait of the Oklahoma of her youth and of a dangerously obsessive, heartsick kind of love.

“Have you ever loved someone to the point that it scares you?” Spirit shares. “You take the worst parts of them into account in an effort to make that feeling go away. But the harder you try the closer, the stronger you’re pulled in. This love grows to near obsession to the point that you want to consume their mind, body, and soul. You want in their skin and in their head. Nothing is close enough and no amount of their attention is good enough – you’ll always want more.” 

Directed by Pierce Pyrzenski, captures Spirit as one-half of a pair of star-crossed lovers on the beach at golden hour and sunset, full of youthful yearning and optimism. Though clearly, not shot in Oklahoma, there are nods to her teenage years, when kids would drive around, hang out, chat and dream big.