Prepare your body… LA duo Wild & Free are here to get you moving and grooving with their perfectly-composed indie dance pop. Our personal favorite is “Trippin on You,” a subtle but deeply funky jam that mixes hush-hush vocals, funk bass, and tasteful synth work. Fans of Daft Punk or Classixx will dig this one a bunch. “Trippin on You” is all over the internet – select your preferred method of consumption via this link.
Brian Bradley is hot off of a string of midwest shows and is promoting his latest release pretty hard. “Halcyon 2050” bumped-and-grinded its way into our inbox and we’ve been hooked ever since… It’s clear the EP draws from classical, pop, and electronica influences – airy vocals lay over top powerful but smooth synth work. Fans of Passion Pit, Joywave, or the casual dubstep listener will definitely dig this one. “Halcyon 2050” would make a fantastic addition to your Spotify playlist.
Los Angeles-based duo WORLDS affixes an atmospheric flair to their new track “Strange Feeling.” The tune makes use of twitchy keyboards and the steady strumming of acoustic guitar underneath a hypnotic vocal duet. The lyrics point to the dreaminess and freewheeling feel of the overall sound, with mentions of “leaving it all behind” and “chasing stars.” It’s a track that should induce a desire to go cruising down the boulevard or watch a classic ’80s film–either way, with a spirit averse to inaction, it surely should inspire the listener to do something.
Australian songstress Tia Gostelow brews up some more of her trademark folksy indie rock in her recently released track, “Hunger.” Joining swelling instrumentals with soulful vocal strains, Gostelow knows how to make an impact that lasts. “Hunger” highlights her musical dexterity and skill, taking advantage of soaring melodies to highlight her silky falsetto, followed by a return to the verse with commanding, bright resonance. Affectionately known as “Fleetwood Mac crossed with Björk,” Tia has a sound that’s both comfortingly reminiscent and uniquely her own. “Hunger” is the latest of a series of singles, with rumors of a debut EP on the horizon that’s bound to be a hit. Trust us, this is a release you’ll want to keep tabs on.
Hip hop newcomer Tommie King provides a swift followup to his praised debut single with his latest track, “Dead Up.” King explores a new sound with dulcet backing vocals, cavernous bass beats, and crafty vocal interplay. “Dead Up” has a laid-back feel that’s just as unrelenting and brimming with life as any, approaching the tempo with stamina and a melodic emphasis. For such a young project, he still manages to lay down the eloquent delivery and polished production of a seasoned artist. This track, along with his first single “Diamonds,” is set for release on Tommie King’s upcoming album Axiom.
Hawaiian indie rockers Kill Tuco prove they can jam with the best of them in their track “Drift Catcher.” Starting off strong with a 30-second guitar-bound intro, the band sweeps some pop punk angst into their mix of light distortion, commanding bass lines, and thick layers of guitars. It’s a bright burst of energy from start to finish, kept afloat with unrelenting drum fills and some spunky group shouts. “Drift Catcher” comes straight from Kill Tuco’s debut EP Kill Tuco And The Sorcerer’s Fellowship Of The Return Of The Jedi.
Mt. Joy reached out to us with the powerful sentiment of their alt-folk anthem, “Silver Lining.” The song is about coping with the feelings of loss after losing friends to addiction. The heavy subject matter is touching and eloquently-delivered… And its hard to deny the powerful chorus of “But if it’s the drugs, the women, the wine, the weed.” Recommended for fans of Mumford & Sons, Edward Sharpe, or Noah and the Whale. Drop Mt. Joy a like on Instagram while you’re at it.
San Diego act Twin Ritual are an indie rock band specializing in frantic danceable tunes with a notable early-80s tinge – almost as if Heart and The Bravery had a child (figuratively speaking, of course). “Hand Through The Mist” is our personal recommendation – the spastic guitar playing is a true highlight, bolstered by fantastic vocals, dreamy vocals, and a rock-solid dance beat. You dig Twin Ritual? Bandcamp it up.
Get your Monday started off right with a funky pop-rock jam from Nashville act Pet Envy. “For Keeps” is truly the goodest-of-times, full of disco-influenced bass lines, flashy synth lines, choppy funk guitar, and a fun vocal melody. We’re especially digging their unique combination of r&b, pop, funk, and indie-pop sentiment. Peep their Bandcamp if you’re feeling the good vibes.
One man band Why a fox is retiring from music, but not before he releases the last two songs he has left. “We hate it here” is the first of the two songs from the Austrailian artist. Originally from Brisbane, Why a fox has made his way around Japan, settling down in Fukushima and had played shows throughout Fukushima and Sendai. The single carries a mixture of elements from genres. The gently plucked guitar is reminiscent of most folk acoustics. The vocals were similar to The Front Bottoms lead singer Brian Sella because they were raw and told a story as the song went on. The song serves as a fitting end to Why a fox’s career, giving his fans a chance to get one last look at his music before he gives it up. Check out Why a fox’s entire collection Everything below. Everything by Why a fox
“Prove It to You,” a new track from argonaut&wasp, is pretty much as close to indietronica as musicians can get. The Brooklyn duo follows on the trail of bands like Hot Chip with the track’s undulating rhythm and velvety vocal stylings. The song oozes confidence, with a cool-as-can-be assertion of “let’s get it on,” while admitting to feeling lonely. The recurrent keyboard lines toward the end of the song serve to build the song to an energy-raising climax before ending somewhat abruptly beneath its propeller-sounding finish. Check out “Prove It To You” below.
“Yours,” the latest song-length effort, bounces on an assertive beat, as Cacie Dalager’s lightly delivered singing still manage to take a stronghold on the listener’s ears. The song’s sound and accompanying music video encompass a 1980s aesthetic. The narrator falls under the spell of a romantic interest, as she pleas for the subject of the track to come her way and stop denying her. But despite the message retaining a level of hesitance as to whether her feelings will be reciprocated, the song manages to still sound triumphant and freeing.
Leeds-based four-piece The Hubbards released the second single “Easy Go.” The Hubbards released Body Confident on September 27 through Scruff of the Neck Records. Gaining notice from supports slots for Foals and The 1975, the band has enjoyed a nice transition to the mainstream. With a punchy guitar and smooth transitional vocals, the band encompasses the spirit of punk and indie pop. Continuing the narrative from “Just Touch,” the single continues the story through its lyrical content. Listen to “Easy Go” below via SoundCloud.
Amsterdam quartet Canshaker Pi bring out heavy Dutch rock influences in their new single “Pressure From Above.” The single will be released on November 3 via RIP Records. Canshaker Pi has also announced a UK tour in December, including supporting dates with The Cribs in London, Manchester, Glasgow and Leeds. The influences in production from Pavement’s Stephen Malkmus can be heard including the dead-pan vocals and heavy guitar play on the track. Canshaker Pi also incorporates Dutch rock into the mix with some heavy guitar riffs throughout the single. Listen to “Pressure From Above” via SoundCloud.
Welsh songwriter Bryde employs her newest single “Desire” as a means to grapple with impulsiveness and the by-any-means-necessary approach to self-gratification inherent in humankind. As told by the song’s ardently delivered lyrics, “we tie ourselves up and we tear ourselves down” while “we paint our faces and we tear our hair out” all in the name of desire. The rhythmic guitar laced throughout the verses inhabits a brooding quality but escalates to more anthemic, power pop-esque riffage once the track reaches the chorus. Chris Sorum and CJ Marks, the latter credited with assistance on recent works from PJ Harvey, St. Vincent and Wolf Alice, are responsible for the song’s pleasingly raw-sounding production. The almost undetectable utterance of “yeah” once the song ends points to satisfaction with the end result, like a weight was lifted. Listeners could, and should, foreseeably feel the same. Bryde’s debut album is slated for release in[...]