Glitch Project return to the forefront of indie music with ‘Wane,’ which is as cool as it gets. The two-piece female outfit immediately kicks us in the shins with a bass riff that demonstrates they aren’t afraid to try something new.
The bass drives the track ahead, and anyone who enjoys the four-string sound will be dribbling from their guilt. The lead vocals quickly tower to the top, piercing with a message about confronting phobias. They rise with their message and position in the refrain, and the synths synergize with a dance rhythm, leaving us hungry for more.
Thomas Cole and EJ Garlands are two of the most exciting pop stars to jump out of the scene in some time. They have a charisma that is hard to come by, and they fill the air with excitement as soon as their new track, ‘Cringe’, kicks off.
The release is all about people maybe feeling cringed out by others being different. They advocate for welcoming difference and empower us with their strong message about accepting everybody around us. The music is uplifting, and there is so much going on within the mix that it is difficult to get it all down in one review.
Furthermore, a piercing dance structure pulls us from our seats, and the synths and thumping bass riff pulsate their way out of the speakers, leaving us clinging to the speakers.
780 Masochist gives us the chills with his new release, ‘Memories’. It is a spooky track, yet something unique about it drags us back time and time again.
The opener kicks everything off in style ahead of a powerful rap performance from Canadian 780 Masochist. He is on point with his technique, and he smashes through his delivery with ease. Also, another exciting component about this track is the engaging beat rhythm which taps with unorthodox stamps.
Overall, a smashing track from 780 Masochist and one we will be keeping close for some time.
Julia Thomsen and Tre’s latest release, ‘Barcelona Summer,’ is relishing the summer air. The song is the duo’s first collaboration, and it gives us a glimpse into their mindset.
It’s lovely, with a serene, timeless design. The peaceful vibe of the birds in the opener is also enough to relax our stressed modern heads. In addition, as the music progresses, a piano arrangement grips the ears to every note, transforming it into a gorgeous masterpiece.
Julia Thomsen has a wealth of classical jewels under her belt, and she rarely collaborates with others. It does, however, pay off handsomely, giving her a new edge and allowing her to stand out even more in the competitive classical space. Tre also has a heavenly aspect that adds a lot of flavour to Julia’s music, and both composers sparkle with multicolour throughout the performance.
The piece is titled ‘Barcelona Summer,’ and it appears to be a reflection of the beautiful nature that surrounds the Spanish metropolis, as well as the summer vistas that surround us all. It’s a brilliant road that leads us away from our chair and into a lovely refuge.
It’s also likely to start many collaborations between the two composers, who evidently enjoyed working together on this piece. It’s a refreshing experience to hear two creative composers collaborate, and they don’t hold back in letting their personalities shine through as the work progresses.
Eliot is the indie rocker whose latest single, ‘Look At Me Now,’ is a smashing accomplishment. The singer reflects on his tenure and demonstrates that anything is possible, often looking back with nostalgia.
The singer’s voice is in top form, and he gives the present scene a new edge. He doesn’t hold back with his enticing vocal tone, which grows in leaps and bounds as he proceeds through his delivery. Similarly, the music is immediately appealing, with a traditional rock and roll vibe pervading the mix.
Overall, ‘Look At Me Now’ is a first-rate delivery that will last a long time due to its exceptional quality.
Calboa is a Hull-based indie rock artist who is steadily improving with each new release. Furthermore, his most recent release, ‘Love Is A Pain Of Its Own,’ is a gift for everyone who enjoys the best of indie music, and he establishes himself as one of the most exciting indie performers to hit the airways in recent memory.
‘Love Is A Pain Of Its Own’ has a similar tone to his earlier works, but he goes deeper into the melancholy territory here. Furthermore, the guitar melody that opens the music is dynamic, with emotion that immediately hooks us. Calboa begins with a fantastic vocal performance that sets the tone for the rest of the record. He sings about the realities of his life, and each vocal line hits with great conviction.
The verse is concise and memorable. With its nail-biting hook and rhythm, it also brilliantly leads us into the chorus. Calboa also enters a new region, which sounds exceptionally different from the rest of the indie scene’s offerings. Calboa gets a handle on infectious melodies in the chorus. He’s no stranger to composing catchy hooks, but he’s never sounded as powerful as he does on this chorus. With his mesmerising charisma, he sings with character and creates a long-lasting effect.
Calboa unleashes an elongated vocal with a poignant tune that gets even more profound as the track nears its conclusion. Also, the instruments ratchet up the tempo, resulting in one of the most breathtaking indie track finales heard this year.
Will’s ‘Closer’ is the summer soundtrack, arriving just as the heatwave sweeps the UK. It also couldn’t have come at a better time, as the feel-good dance flavour rips through the modern music cranium.
Will, gifted and still on the rise, achieves a new level of self-assurance, and he doesn’t hold back in giving it his all here. The music is dripping with star quality, and it can hold its own against the world’s best dance tracks. Additionally, the charming addition of female voices gives a fresh dimension to his backlog and propels his promising career forward.
Raver and producer, Kingdumb is bolstering his name in the modern music industry with his new release, ‘Rave In My Bedroom’.
The track is a gift that keeps on giving, with each new listen taking it further into the soul. It’s a unique release that deviates from the standard modern dance music formula. Furthermore, if you played this record in the late 1990s or early 2000s, you would have no idea it was from the future. Moreover, it draws inspiration from DNB and rave tracks that have emerged over the years previous to now.
On this track, Kingdumb explores musically, and it looks that he had a lot of fun with his musical toolkit. In addition, the songwriter incorporates a high-pitched vocal lead that sounds like something from a DJ Rankin tune. It’s anticonformity, and it’s part of what makes this track so enjoyable! In addition, the record is constantly evolving, with a new shape emerging as it progresses.
The beat lengthens in the last portion, with a slew of swirling sound effects falling left, right, and centre. Additionally, the track’s finale perfectly sums up the tune with a fast flow that will prepare you to hit the latest party hall. However, one thing that sticks in mind once it ends is the spontaneous speech to text generator in the beginning. It’s random, but it works.
The Mad Game are an electronic two-piece whose song “Funny” is pleasing electronic music listeners worldwide. The duo is still in the early stages of their career, and it’s always exciting to hear a track from a band on the verge of something big.
The song’s title suggests that the track is amusing. It is indeed! But not in the form of criticism, considering that the pair appear to have sought this reaction. Furthermore, the noises are frequently humorous, but a serious demeanour emanates from the music, making it an exciting delight for new listeners.
It begins with a gripping beat rhythm and a strangely throbbing synth drop. It has lost its high frequency and now emits a pleasant glow that is difficult to resist. In addition, a female vocal lead appears in the opening stanza, paving the way for the rest of the song.
The Mad Game cleverly incorporate their own vocals into the mix, which blend well with the primary female lead. Furthermore, the melodies flawlessly complement the beat of the music, resulting in an earworm that you will have a hard time getting out of your head once it ends. The music develops in excitement as well, and just when you think it’s going one way, it reroutes and creates a massive instrumental bridge that would shake speakers at even the most prominent festivals.
With ‘Rise Above,’ Olly E, the rocker who needs no introduction, returns more vital than ever. It’s a solo effort from the British musician and composer, and as it progresses, he creates an atmosphere that’s easy to get lost in quickly.
A bright guitar tone opens the tune, pinching the ears with a bite for the right reasons. It gradually builds to the first stanza, where Olly shows that he is up to the task. The track appears to be heading straight towards the drop from the start, but Olly, being the mastermind, decides to keep us on the edge of our seats.
Olly has a unique vocal timbre that is difficult to compare to others in the scene. We can draw parallels with artists who have previously risen to prominence, such as Placebo’s frontman, but he is in a class by himself in terms of style. This unique creative approach makes him stand out, and it will be impossible to place him amid any of the innumerable tracks published to DSPs regularly.
The refrain in ‘Rise Above’ is catchy, and all of the sounds blend seamlessly. The drums pound furiously, and the guitar riffs speed up, making the track a strong stadium filler. Also, the bass manages to make its way out of the frantic mix, and no sound is lost, which is a testament to Olly’s mixing talent.
Olly generally fills the vocal space with his lead delivery. Therefore there aren’t many supporting harmonies. As is sometimes the case with tracks like this, but a little additional backing at certain parts would have been fantastic!
