Posts Tagged ‘Indie-Pop’

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When Mariko Doi of Yuck and James Thomas of band The History of Apple Pie got together to form Parakeet, they sought to create a raucous, thrashing punk band. It turned out that they were better at coating their noise in more of an alt pop patina, however. That’s what put them on the map with 2012’s Shonen Hearts EP, an effort that gained them buzzing popularity abroad in Japan and their UK home. Two EPs later, they’ve continued to refine their sound — one that’s both unabashedly loud and sugary fun — and will unleash it in all of its glory on their debut LP, KASAvia Lunar Ruins.


Following lead single “Sugar Rush”, the duo has returned with a new track called “Summer Apathy”. As the title suggests, the track isn’t as lighthearted as the previous release, but the intricate guitar and bass work still manages to warm the cockles of your heart. With crunchy lines that point just slightly down at your shoes, the song encapsulates all the shine of a glorious summer day right alongside the too-cool sand of a lonely summer’s eve. Or, as the band puts it, “All the instruments are woven like a herringbone. It’s an ultimate heartbreak song.”

Members: Mariko Doi and James L Thomas



“KASA”, Parakeet’s first studio album has the pure spirit of D.I.Y. All the tracks were recorded, mixed and mastered at home in London.
Of Japanese origin, Mariko has named their album KASA after seeing the artwork by Noriko Okaku, a Japanese fine artist and an animator based in London.
Mariko learned guitar when she was young and she came back to her roots this time after years of playing bass professionally. Her guitar, bass and vocal parts are well woven with each other. James‘ drum parts are tastefully played and solid. He has the policy of ‘No drum solos’.


Their initial 2 piece, drums and bass approach has not changed. All the tracks make sense with drums and bass as Mariko is conscious of her bass parts not just playing root notes.
Mariko’s lyrics are heavily influenced by modern Japanese literature and existentialism. She likes to project a vivid picture of her story as if you are in it. 

HINDS – ” Chilli Town “

Posted: January 17, 2016 in MUSIC
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Not an EP either you say? Whatever. This compilation pulls together the first few singles by Hinds (previously Deers) and lets everyone share in the joy of their 60s infused garage rock. Through these songs Hinds seem to create a presence, an aura, a personality entirely of their own making and one that 99% of other bands will never achieve. They play like they’re the strongest gang, syndicate, cartel in music. Album out early 2016. Bonus points for being so enthusiastic about themselves that nothing that’s written about them ever matters.


Chili Town was born in a friday afternoon.
while drinking sangria we realized that if our songs were battles, we’ll always end up being the injured soldier.
then we were like “fuck it dude, why are we always the weak one in our lyrics??? what’s wrong with us???”
so yeaaaaahhh we made it! we wrote a winner song! …right?

Hailing from Spain, Hinds is a bursting ball of energy. You’ll be hard-pressed to find any other act that is more excited than these four ladies. Their music parallels their free spirits, and that all jangles with controlled chaos.


Ballarat-spawned five-piece The Crepes specialise in indie pop earworms that radiate timeless innocence. Case in point: ‘Cold Summers’ feels like a late-1950s slow-dance number updated only slightly for the post-Shins world. It’s the opener and title track of the band’s debut EP. Sung with breathy blissfulness by Hollow Everdaze’s Tim Karmouche, these songs have a commanding magnetism that belies Crepes’ twangy, keyboard-frosted nonchalance. Check out ‘Ain’t Horrible’, if you haven’t already.  jangly as fuck, smooth and glorious


COIN – ” Coin “

Posted: December 11, 2015 in CLASSIC ALBUMS, MUSIC
Tags: ,

Coin (1)

One of these is the eponymous debut from the Nashville four-piece, COIN. It’s feel-good radio-worthy music, perfect for soundtracking all your road trips and beach days. Part of its genius is that it will have you dancing and singing along, whether it’s your first or 1,000th listen.

COIN flows together seamlessly, keeping the listener entertained with 35 minutes of wicked guitar riffs, clever and playful lyrics, and wild, youthful energy. The first track, ‘Atlas’ starts off the party, sampling the adrenaline rush of the album. Singer Chase Lawrence’s lyrics are cheeky and enticing, making this a stand out song. Lawrence has a gift for creating songs that anyone can love, whether they can directly relate to the listener’s current life or remind someone of their exuberant past. ‘Atlas’ is one of the best examples that COIN offers of this crowd-pleasing quality. Of course, their lead single, ‘Run’ is fantastic in its own way, but for similar reasons. It’s insanely catchy in the best sense and showcases their talent for creating a fun and exciting narrative set to wonderful melodies.

The album overall is fast-paced, without losing songs along the way. Not a single track is skippable and it definitely doesn’t feel like an album that’s just singles and fillers, which seems pretty rare now. Each song feeds into the next seamlessly, mainly because COIN stick to what they know for the most part, and it definitely pays off. Their formula of beachy guitars layered with strong percussion and upbeat synthesizers makes them unique from other brands of indie pop we’ve heard this year. Lots of artists included guitars and synthesizers, but not like this band has. Breezy guitars and percussion are usual, but COIN add their heavy, Walk the Moon-esque synthesizers to create one of the most distinct mixes of sounds this year. ‘Holy Ghost’ is the pinnacle of their style, mixing 80s inspiration with beach guitars. The progression between the two styles makes it a joy to hear as it moves from airing on the laid-back side to total overdrive at the finish.


Although COIN is an ambitious endeavor on the whole, the band really push themselves with the final two tracks and go into some more experimental territory. They retain the signature COIN vibes, but push it to something a little less predictable. The two are less upbeat and tell of sadder stories than the rest. The instrumentation maintains the synths and California-esque vibes, but still matches the downcast lyrics. It’s entirely unique how those two songs can keep the beachy sound that COIN has worked to create in the first eight tracks, but change the lyrical story to something sad without losing the listener or becoming bizarre. ‘It’s a Trap’ tells of a deteriorating relationship with summery guitars in the back, and somehow they make it work in a splendid way. The final track, ‘Lately’, is an unexpected way to finish such a happy album, but it leaves an impression that is hard to forget. It’s dramatic, more so than any of the other songs, but it also showcases what COIN can do when they step out of their comfort zone.

Part of COIN’s magic comes from is its wide appeal. It’s not just for any one demographic and its refreshing to hear something that can be so widespread. No matter whether you’re reminiscing about rebellious youth or actually living it, its still carefree and fun music that’s meant to bring you back to that spirited energy. COIN has gifted us with a wonderfully bright combination of songs in an already spectacular year for sugary pop.



The debut single from Big White, These guys are the new up and coming garage guitar pop heroes and it seems like overseas caught onto them before Australia did. Earlier this year the Sydney crew signed to Burger Records (the US home of fellow Aussies (and garage rock kings) Step Panther and Wax Witches. Their happy go lucky sounds. of this band have have been on the up and up this year, their care free brand of new-wave inspired guitar pop is like a big, loveable golden retriever. They like to hang out, make new friends, bring an excited energy to everything they do Okay that last one might be pushing the metaphor (and the truth), but you get the point, and it’s a point the band make clear in their video for You Know I Love You. They then made their US debut at SXSW in Austin Texas, touring across the South West and finishing up with Burgerama Festival in LA alongside some pretty famliar names including Gang of Four, Ty Segal and Ariel Pink.


This Cleveland-based group are gearing up to release a new album called “Mont Royal”, to be unveiled on August 28th. A couple weeks back they unveiled a first taste in the form of I Want To Feel Alive, and today we’re stoked to premiere the latest offering: “In Motion.” The song is boisterous and upbeat, with a strong folk-rock tempo that will no doubt serve the band well during live performances. It certainly piques my curiosity: this album promises some great variation, and will definitely be worth a listen.

Lighthouse and the Whaler hail from Cleveland, Ohio, a city infused with entrepreneurial spirit. It’s the birthplace of Superman, the members of the band — Michael LoPresti, Matthew LoPresti, Mark Porostosky Jr., and Ryan Walker — have embraced their hometown’s DIY spirit and taken it to heart. Since self-releasing their first two albums (2009’s The Lighthouse and the Whaler, 2012’s This Is An Adventure), the band has made a name for itself internationally, moving from coffee shop tours to renowned venues. In the process, The Lighthouse and the Whaler has grown from a folk-leaning group into a fully-realized band that blurs genres and continues to reinvent. The results of this tireless pavement-pounding and soul-searching speak for themselves: millions of streams for the then-unsigned band’s songs “Pioneers” and “Venice,” and tours with artists like Ra Ra Riot, Matt Pond PA, and Jukebox The Ghost.










Recorded live in Austin by Do512 The Band Hippo Campus, Their album “Bashful Creatures” is an unabashedly fun guitar pop record that only grows more rich with each listen. Alright, listen. What I’m trying to say is that it’s pretty much perfect album .Favorite track: Suicide Saturday.

Splashh began life as the brainchild of Toto Vivian and Sasha Carlson forming in late February 2012. The duo initially bonded over their mutual music tastes and then began plotting their sun drenched musical assault on the UK. Growing up between the South Pacific and the UK they left the beaches behind to record in a small bedroom in Hackney. The result was a myriad of floating, fuzz laden grunge pop tunes with a punk twist. With a number of songs in the can the boys then recruited close friends Thomas Beal on bass and Jacob Moore on drums. The 2 new additions made for a sense of excitement that Splashh were primed and ready to roll as a band.

The carefree attitude within their music transports the listener to the summers of yesteryear kicking back with good friends. Sounds of dreamy fuzz being thrust through the walls of your neighbour’s garage as the “slackers on summer holiday” dream of adventure, fun and the open road. With releases planned through the summer, plenty of gigs and a hungry music loving public awaiting, it seems as if the adventure isn’t too far away


Cheerleader is Joe Haller, Chris Duran, Josh Pannepacker, Carl Bahner and Paul Impellizeri. Haller and Duran’s musical partnership was born in Duran’s parents’ basement, sparking a connection that survived the 2000s and colleges in separate states. After garnering critical attention for their self-produced and recorded three-song demo, the duo grew and began performing live. Now a five-piece based in Philadelphia, Cheerleader is a bigger, bolder version of its original incarnation. Cheerleader’s debut album is due in 2015.


Womans Hour  return in 2015 with another beautiful black and white, minimalistic video for the song “Devotion” off their serene Secretly Canadian debut album “Conversations” out last year. You can watch the twin filled video directed by Weronika Tofilska .

Here’s Fiona Burgess with more behind the video:
‘We talked a lot about the idea of closeness, trust and dependency, and felt that using siblings was the most natural way of communicating this…as well as looking identical, the twins in our video have a loyalty to each other that is so constant throughout their lives that it’s unlike any other relationship. We were interested in how the visuals could compliment this theme, using minimal props and staging in order to make the focus on the subjects. They are almost like still life portraits, their movements are subtle so that the viewers focus is on the tinniest movements… it’s often the smallest gestures that speak volumes”