Refreshing indie pop duo Lime Cordiale just released their full-length album Enough of The Sweet Talk on July 26th. The LP comprises 13 songs separated by four “French Cue” interludes. After listening to the whole album, I couldn’t help but compare their music to The Wiggles, an Australian-based music group known for their iconic tunes. Sure enough, after doing some research, Lime Cordiale hails from Sydney, Australia, and gives off the same vibes as the aforementioned, but with a mature coming-of-age twist.
The band is made up of brothers Louis and Oliver Leimbach, later joined by Brendan Champion on the trombone and James Jennings on the drums. The musicality of the album at its core is pop, with hints of indie rock shining through in the latter half of the album. The drums, electric guitar, and trombone make regular appearances throughout the album, with an electronic keyboard as a fun cameo added to a few of the songs.
The first part of the album feels amazingly carefree and pays tribute to romantic relationships. “Pedestal” and “The Milk Man” are perfect songs to jam out to, so much so that they paint vivid pictures many can relate to, whether it be slow-dancing at prom or having a summer fling at the beach. I can already see myself listening to these songs while I’m getting ready for a special night out!
“The Facts of Life” is where the album breaks out into more of a self-reflective realm. In my opinion, the song encourages you to pay attention to your surroundings and enjoy the smaller things life has to offer: chewing gum, ice cream, the birds and bees. Alternatively, “The Facts of Life” could also imply the feeling of sexual release, as evocative hot-and-cool imagery is used throughout the song. The next piece “Enough of The Sweet Talk” is as literal as it can get. As a listener, you can’t help but empathize with the brothers. Leimbach states that talking with this person (I assume a romantic partner) is frustrating because they truly won’t listen to him; it’s all meaningless sweet talk. Even if they share the meaning of life or the world is ending and they need someone to rely on, he still wouldn’t talk to them– opting to be alone despite such drastic conditions.
This brings me to my favorite piece of the entire album: “Happiness Season”. It’s a beautiful song wherein each lyric is punctuated by the drum’s beat and accentuated by an impressive trombone riff. Additionally, this piece really highlights the Leimbach brothers’ talents as tenor vocalists! My favorite part is the chorus:
She didn’t need me, I’ve been defeated, Oh that’s how it goes in happiness season She didn’t need me, I’ve been defeated, Oh that’s how it goes, imagine her leaving, with happiness season~
“When I’m Losing It” is where the album takes a serious turn. In this song, Leimbach is, for lack of a better term, head-over-heels crazy about his lover. He admits he gets jealous easily and always loses his nonchalance when he’s around her. Accompanying this self-deprecating streak are “Imposter Syndrome” and “The Big Reveal; Ou L’Hypocrite”. Both songs reveal feelings of bittersweet inadequacy. Leimbach doesn’t see his own appeal and cannot accept a compliment for his life. Leimbach is hiding a big secret under his stardom and it’s the fact that he’s a hypocrite living with imposter syndrome. To be honest I can see many young adults of my generation (Gen Z) relating to these songs the most. At the end of the day, whether we hold mid- to senior-level positions or amass thousands of followers, at one point in our lives we’ve all experienced imposter syndrome.
Another amazing song I would like to spotlight is “Country Club”. The lengthy trombone solo, reminiscent of New Orleans jazz, graciously allows listeners a moment to reflect on the message of the song. “Country Club” has an oddly psychedelic feel to it, with a catchy and hilarious chorus. This song narrates the life of a ‘nepo baby’ who cannot rely on their parent’s money anymore. Despite its advantages, having rich parents can actually be a disservice as the person in question doesn’t know how the real world works. Overall, it’s a great message anyone can take away from.
Ultimately, Enough of The Sweet Talk provides listeners with a wonderful range of life messages to learn from. In addition to love and heartbreak, the album touches upon the importance of self-reliance, staying humble, and the harm caused by your inner critic. These songs are going to be on repeat in my summer playlist and–dare I say– years to come!
A band that’s recently popped up on my radar is the LA-based indie/electronic duo Pop Noir, led by Manchester-born brothers Joe and Luke McGarry. Several influences inform their sound, namely vintage dance-rock acts like New Order, Primal Scream, and Depeche Mode, as well as more modern house/techno inspirations. While the band has been intermittently active for years, it’s been more of a side project as the two focus on other exploits, with their main pursuits being illustration/animation for Luke and filmmaking for Joe. However, new singles by the pair have been more consistently released in the past year, with their slickly produced cover of U2’s “New Year’s Day” and a ska-throwback titled “Santa Ana”.
Their newest single released earlier this month, titled “Soul Train”, expands on the band’s diverse musical trajectory while remaining lively and danceable. While previous singles like “White Jazz” were more uptempo and obvious in their highly danceable retro-rave influences, “Soul Train” diverts a bit from the band’s usual repertoire. It still has an enjoyable sound, but focuses more on introspection and vulnerability in the lyrics and performances. Luke McGarry’s vocals, clearly echoing Bernard Sumner, have more range that he didn’t get to explore on previous singles. He’s allowed to bring his voice to a falsetto on the chorus and even some crooning here and there, showcasing more of his talents. Musically, this has more of an emphasis on a killer big-band horn section and orchestral elements as opposed to the synths and drum machines that characterized their other work. It’s entirely unique and brings out the more dramatic qualities that the song is going for.
As of now, “Soul Train” doesn’t have any connection to a future EP or LP and currently serves as a standalone single. Still, it shows the duo as worth looking out for as they continue their still-young musical journey.
The second album by any successful artist can be a critical moment in their career. It’s made to show the impact of their previous work wasn’t a fluke, and that they’re still someone worth giving your time and attention to. This is easy to mess up, as the term “sophomore slump” still gets used when describing artists not being able to make a follow-up that builds on their previous acclaim. The new album by Luna Shadows, bathwater, thankfully doesn’t fall into known sophomore slump pitfalls and expands on Shadows’ previous music from 2021’s Digital Pacific. It expands on her goth alt-pop sound by incorporating more guitars and orchestral arrangements, but also shows a deeper, more personal look into Shadows than before. bathwater is a slow-burn album that rewards listeners with poetic and vulnerable lyrics and gorgeous melodies that split the difference between songs you can dance or cry to in equal measure.
Musically, the album isn’t a complete reinvention of Shadows’ previous work, as it uses Digital Pacific as a jumping-off point to new sounds and textures. The previous album’s hazy synthpop and use of drum machine rhythms found in hip-hop or R&B are still present, but they take more of a backseat. As someone who doesn’t listen to moody alternative pop records (i.e. Lorde, Lana del Rey, Billie Eilish, etc.), the sound took a bit of getting used to. I deeply appreciate that Luna Shadows remembers to keep her music rhythmic and interesting, unlike a lot of alt-pop that focuses too heavily on vibes. However, some songs are produced more in minimal accompaniment with a greater focus on Shadows’ vocals and a richly produced dense atmosphere. Still, the album sounds great and even goes into psychedelic, somewhat ethereal territory that almost reminds me of dream pop like Beach House or even Cocteau Twins.
Speaking of Shadows, her vocal performances here are as pristine as ever; being breathy and somewhat whispered at points, yet still dynamic enough to convey the raw sense of vulnerability she’s going for. Her voice is soothing and occasionally functions as an instrument themselves when set against the eerie and psychedelic soundscapes she sings in. Fitting with her namesake and the album cover, her voice and persona all have an otherworldly, mystical quality that makes her music even more intriguing. All the vocal harmonies sound wonderful, alternating between misty, heartbreaking, playful, and just all-around pretty whenever the song demands it.
In terms of individual songs, my favorites are the more up-tempo pop-friendly singles like “bleach” and “heroine” which both feature killer electric guitar and breezy vocal harmonies. Some of the slower songs are just as strong, like the heartbreaking “monroe” with its desperate sentiments, and “honeymoon” which features some beautiful finger-picked acoustic guitar. The indie stylings mostly come down to acoustic guitar being used as background texture, like on the more R&B-inspired “tourist” and the ballad “superstars”. However, there’s still time given to use guitar solos on songs like “stay mad” and “nudes” that are consistently excellent throughout the album. Experimenting with string instruments like on “witches’ brew” and the closer “apocalypse love song” complements the melancholy and moody tone that the tracks themselves provide.
bathwater may occasionally feel its length with a track list of 14 songs (including an intro) and can go into the same sonic territory of ambiance a bit too often, but each song has enough personal feeling to justify its place. Luna Shadows likely made this album as a way of transcribing her personal struggles and conflicts into art, such as many other artists, and she succeeds by pushing herself forward musically and emotionally. For only a sophomore album, it suggests more great work from her is still to come.
Another band I’ve seen pop up in my socials a bunch is the band grlztoy of the DMV area, made up of Theo Zamani (lead vocals, guitar) and Molly Izer (drums). Their EP green!, released last June, is an assured and confident debut I think is worth listening to for anyone into indie pop/rock.
For a release that’s only 12 minutes long, grlztoy easily establishes themselves with just six tracks. The opener, the title song, is only a minute long but still establishes a calming, slightly psychedelic mood through the guitars and slightly echoed drums. It’s ultimately just an intro to the EP, but it still feels complete. Each song carries the same vibe established in the intro title track, creating a hazy, colorful, summer night atmosphere.
The next three songs, “spring (untied shoes)”, “say when”, and “wavelength” are all a showcase to both members’ talents. Throughout the album, Theo’s singing is wonderful, clearly inspired by both a lot of 90s and 2010s indie singers, but she still almost equals those obvious influences in her abilities. Her voice is sweet and soft, but is still expressive when it needs to be. She carries a song like “say when” by sounding sweet and romantic in a way that’s earnest and never anything but genuine. Molly’s drumming is also consistently great, giving each song a fun, up-tempo groove. Her style varies neatly from cozy indie rock (“teenage dirtbag”), sort of bluesy (“keychain piano”), to garage power pop (the totally killer “wavelength”).
Admittedly, the band is still very new and occasionally some songs could use more substance (ex. “keychain piano” being clearly a mess-about band jam but still entertaining) or space to breathe. Still, despite having room to grow, green! is a kind of first release that makes you excited to see where the band will go next.
Brooklyn’s own indie rock band Razor Braids just released Big Wave, their sophomore LP after 2021’s “I Could Cry If You Want Me To”. The new album is of a concept record about the timeline of going through a breakup, and lyrically it’s very personal. It goes into the narrator’s (which could be any of the members of the band, or multiple writing from shared experiences) feelings about their insecurities, self-doubts, and feelings of anguish within themselves. The lyrics are one of the strong points of the band, being clear, relatable, and easy to identify with as a listener.
Musically, the band’s style has its inspirations in 90s indie and alternative rock. There are many obvious comparisons like the lo-fi sound of Liz Phair, some Mazzy Star-style touches of psychedelia, as well as heavy grungy guitars that occasionally pop up. The production and guitar work on the album is consistently good, with a hazy but dreamy atmosphere composing many of the songs. Lead vocalist Hollye Bynum gives a lot of great performances throughout, showing her singing as more confident than the band’s earlier singles like “Nashville”. The backing vocals (contributed by rhythm guitarist Jillian Karande) are just as strong, though some of the best sounding parts of the album were when both vocalists harmonized, like on “B26” and “Windy Gap”. It’s an element of the band’s sound that I wish they used more.
My favorite track is the lead single, “She”, which is an upbeat pop-rock song that easily has the breeziest and most danceable groove on the album (with the drums provided by former member Sid Nichols). The band’s irresistible energy and chemistry here shines through, accentuated by brief giggles by the band as the song closes. However, while “She” is a great single, it differs a bit from the rest of the album in terms of its accessibility and focus on a pop chorus. Not that this is a bad thing, as mellow and downbeat songs like “It Goes Quiet” and the title track are still strong because of the earnest performances and lyrics, and especially from the lush guitars (from lead guitarist Janie Peacock) in the second half of the latter.
Big Wave is mostly a storytelling album rather than one that’s song driven. There’re points where the tracks can feel more about expressing emotions rather than structure and rhythm. This is most apparent on “JR”, which seems to explode with intensity as a musical emotional breakdown in the second half, as psychedelic guitars bury the vocals before they come crashing down on themselves. The vulnerability given from Bynum’s performances helps make this seem rawer and more effective.
All the songs are good, and the album is easy to recommend to fans of modern indie rock that are more into lyrically driven music. It’s not perfect, as I think it could’ve used another good hook or two and better pacing. Still, the album ends on a bittersweet but hopeful note on “There’s No Sound”, and I think the band still has a lot of talent and potential to build on based on the more promising parts of the album.
Big Wave may end up just being a steppingstone for a band that’s still evolving, but it’s captivating enough to look deeper into it.
For two decades, Scott Fisher has crafted musical fusions of his own design, with works featured in popular TV shows such as Shameless, Parks & Recreation, and Gossip Girl. His groovy rhythms are infectiously catchy and are right at home in these comedies and dramas. If his new single “Still the Same” were in a show, it would accompany a protagonist returning to their old hometown, expecting friends and family to have changed—only, they find that everything has stayed the same.
Funky jazz chords and a guitar riff hook the listener from the start, evoking 1970s production styles. Fisher’s voice echoes with reverb, infusing the song with a contemporary indie-pop spin. The lyrics are contemplative, as the speaker observes the inherent constancy of people despite ever-changing surroundings. Fisher observes that “the same old thoughts” are “in different brains” and “the gray in your beard is all that changed.” It’s a timeless feeling, as we move from one place in life to the next and realize that human emotions are, at their core, changeless.
“Still the Same” is the third single from Fisher’s upcoming album, Kingdom of Ego. Fisher is currently based in Los Angeles, where he has worked on acclaimed television shows (Shameless, Parks and Recreation, Better Call Saul, The Good Doctor, etc.). He has opened for Brandi Carlile, Augustana, and Pink Martini, in line with their genre-crossing musical styles.
There’s something about a folk/indie vibe that feels so incredibly creepy in the context of horror. (“Tiptoe Through The Tulips”, anyone?) Singer-songwriter Anna Wolf and songwriter/producer Pop Morrison certainly bring this spine-chilling energy to their title track and music video for the horror film “The Unfamiliar.” Wolf is a singer-songwriter and holder of many awards for her sharp and highly idiosyncratic music. Morrison is known as Jamie when he drums for the rock band The Stereophonics, but he transforms into the eccentric and explosive Pop Morrison when he takes on music production.
The music video intersperses scenes from the movie with close up, blurry shots of the duo. With Wolf and Morrison lingering outside the narrative, the video feels like a micro-horror work in its own right. It plays with the dynamics of dark and light, and though it’s simple on the surface, there are layers of intricacy that reveal the deep amount of thought that was put into it. As Wolf sings “the dark and the light” the shot moves from the darkness surrounding her to the light shining on Morrison’s guitar. A fleeting scream cuts through the song as the visual flashes to and from a shot of a child from the movie. These subtle touches add a lot of depth to the video, creating a haunting and memorable performance that finds its own beauty amidst the occult psychodrama of the film.
The music itself is atmospheric, but sparse, leaving you feeling exposed and vulnerable. Voices sweep across the background like the wails of a ghost. Drums beat gently but ominously beneath Wolf’s searing vocals. Her voice takes on the supernatural quality of Kate Bush and Joanna Newsom, helping her to embody the eerie, possessed nature of a ghoul. Even Pop’s guitar has the transient, mystic feel of a phantom, thanks to his precise production. While the rest of the track feeds into the sinister feel of the film, the acoustic guitar adds an interesting fairytale quality that projects elegant indie-folk imagery for the audience. There’s a lot in “The Unfamiliar” that reveals things about the film. Morrison says, “The song sets a tone before you’ve even seen the film, the same way the movie leaves a mark after you’ve seen it.” The duo did an excellent job of executing the vision of the filmmakers, with the film’s director and co-writer Henk Pretorius saying, “Anna Wolf and Pop Morrison’s music dreamily conveys the dark lure of The Unfamiliar. I got emotional when I heard what they created.”
About The Unfamiliar The Unfamiliar is an independent horror film, set in the UK and Hawaii, showcasing a melting pot of rising British, European and South African crew and cast members. Directed by Henk Pretorius and produced by Llewelynn Greeff and Barend Kruger, the Anglo-French Jemima West (Indian Summer, The Mortal Instruments) stars as British Army doctor Elizabeth ‘Izzy’ Cormack, returned from war to rekindle her relationship with her estranged family. Alarmed by the numerous inexplicable activities around the house, Izzy seeks ineffectual professional help before confiding in her husband. He believes that she is going through PTSD and advises her to rest and recuperate in Hawaii. It’s there that she gets sucked into the underworld of Hawaiian mythology, as she attempts to piece together the elaborate and elegant puzzle to reveal an ancient and terrifying spiritual presence haunting her family. You can watch the trailer here.
Indie-pop act DEWR, consisting of songwriter Brian Dawer, is set to release his new EP Dream Pop Is Over on January 31st.
This release differs from his past works because the EP shies away from the regular indie-pop formula. While DEWR’s previous releases seem cluttered and unorganized, Dream Pop Is Over, is anything but.
This 5-song EP flows like a stream of consciousness giving Dewar the space to be honest.
Accompanied by swaying rhythms and dynamic changes, this EP is both unique and listenable. The opening track “Front Line” drops listeners into Dewar’s mind, and every song following continues this exploration. Through these 5 songs, listeners are exposed to Dewar’s inner turmoils as he comes to terms with the idea that you can’t have it all, and that life keeps moving forward.
The EP’s title feels like a play on words. While his other works fall victim to indie-pop tropes of being over digitally-enhanced, Dream Pop Is Over feels natural and organic.
Though her music has been critically acclaimed as “bedroom-pop” Jay Som‘s new vinyl release has broken out of the traditional mold and has moved into the spotlight. This artist’s music has been known to have a “crushing venerability” that all who know her seem to crave. Her newest hit, “O.K, Meet Me Underwater” was recently released on her 7-inch titled Pirouette, and has taken the indie-pop industry by storm. Not only has the artist featured this new song in the album, but also includes two songs originally meant for her previous album Everybody Works that were deemed “out of place” by Jay herself.
Since the start of this young artist’s career, those who know her have been raving about her debut album Everybody Works which received “Best of 2017” from acclaimed critics such as NPR Music, Rolling Stone and Billboard. Now, singer, songwriter, multi-instrumentalist and producer Melina Duterte, under the persona of Jay Som, has once again created a cover that highlights her ability to write and produce relatable music that has blown away listeners. Though not many could predict her success early on in her career, Duterte has surely transformed how the music industry views “bedroom-pop” artists.
As a child, Melina Duterte had dreams of one day attending professional jazz programs, but decided later on to see where songwriting could take her. While enrolled in community college, Duterte created her own personal studio where she could create music the way she believes it should be done. From that small studio, under the moniker of Jay Som, Duterte has turned the corner on one of the fastest growing genres in the indie pop industry.
