The sweeping, fuzz and electric piano-based track "You Can Have Me" showcases Nashville-based singer-songwriter Zach Vinson's vision of indie-pop music: reflective and lyrical, while still in the thrall of dynamic production.
On the new track "LiberTeens," Malmö, Sweden-based indie-pop Emerald Park fuses playful, autotuned electronic music with straightup alternative rock flourishes for a pretty bracing mashup.
Opening with a taut guitar, filtered through some Sun Studios slapback, and the ethereal voice of Norway musician Gunhild Jarwson Tekle and some highly Kate Bush-esque synth paddings, "Ricochet" by guns, appears to be a study in contrasts. But appearances are nothing if not deceiving. The song finds pop cohesion in its mood and hooks.
On the cusp of summer, Lorna has released "In Amber," a love letter to their home of Nottingham UK and a glistening, lush, harmony-soaked pop song about how sad songs can make you feel so good.
Produced by in-demand rocker Ty Segall, the first single from La Luz's forthcoming album "Weirdo Shrine" is thrilling, noisy and beautifully melodic surf rock.
The punchy, urgent sound of "Quarterback," the latest single from KOPECKY, proves that the Nashville, Tennessee band is more than ready to take on bigger, broader musical vistas and audiences.
Violinists aren’t usually thought of as rock stars, but Sarah Neufeld is breaking that mold, proving Gilda Radner right that there really should be more violins on television.
Charlie Barnes sometimes calls his music "death pop," which is probably more than a little ironic. With echoes of Rufus Wainwright, the Beatles and maybe even a little bit of Queen, "Sing to God" is an explosion of orchestral indie-rock.
Chazwick Bundick's Toro y Moi takes a musical turn once again for his fourth album, "What For?," this time turning to a guitar-driven, '70s-influenced, pop-rock sound.