Sol Paradise

Sol is a multi-instrumentalist, singer, and songwriter from London, whose sound blends elements of jazz, funk, and neo-soul. His latest EP, In the Garden, has received significant recognition, garnering over 500,000 streams, including features on Spotify Fresh Finds UK, BBC R6, and Jazz UK.

It’s clear his star is rising; his streaming success and media recognition led him to play the Brick Lane Jazz Festival and the inaugural SXSW London.

I was lucky enough to attend his sold-out show at Omeara last night in London. This show was the final night of his debut UK headline tour, where he sold out every single night.

His latest EP, In The Garden, feels like the perfect soundtrack for a balmy summer’s evening lying in the park. There is a joyous calmness to this record, which skillfully and playfully fuses old school Jazz with a delightful dollop of funk and soul.

At moments, this record made me think of Stevie Wonder’s Innervisions. Sol Paradise is a North Londoner, and somehow, you can tell, there is something distinctly urban about this record. It’s forged from a life in the city.

As a live proposition, Sol Paradise and his band are a compelling yet easy listen. It’s cool, effortless and meandering. Trumpets, Saxophones and Flutes elevate the style alongside keys, guitars and drums. It’s a room swelling sound that sweeps you up and away.

Go lose yourself in this EP on your next stroll around your neighbourhood, or play it to impress your friends at your next park picnic.

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Regular readers of this blog will be aware of our love for all things alternative and our determination to surface and champion the new wave of indie rock. The great indie revival is on, and Joe Maxi might be leading the charge. Find them sitting proudly at the top of our playlist.

Introducing Joe Maxi

Judging by the name alone, you might be fooled into thinking Joe Maxi was a folk balladeer or acoustic guitar-wielding troubadour with a jaunty hat. The reality couldn’t be more different. Joe Maxi is a four-piece from Dublin with a penchant for experimental, post-punk and alternative rock.

Their latest release is The Game EP, a raucous, rambunctious explosion of heavy guitars, spoken word and breakbeat that fuses into something wonderfully confrontational, set against a backdrop of bleak landscapes and humdrum boardroom melodrama. Listening to the EP allows you to trace a diverse range of influences including Nirvana, Talking Heads, Fugazi, Dry Cleaning and early Fontaines D.C.

The EP kicks off with the jittery intensity of ‘Shift’ that would fill any self-respecting indie club dance floor in a heartbeat. It’s brooding cool quickly envelops you. The title track ‘The Game’ infuses circus ringmaster-style spoken word with explosions of hazy hard rock.

Discussing ‘The Game’ as a single, frontman Mikey Fowler said, “We’re beyond excited to share this one—it’s hands down one of our most thrilling songs yet. In a world that feels more tangled by technology, feeling like a simulation every day, we want this track to be a reminder to take the leap, to play the game, and to embrace the chaos with us.”

The first single ‘Butterfly’ lands with an uncompromising slice of astral rock, delivered with a Talking Heads swagger and the stop-start elegance of a giraffe walking on a tightrope. The guitars are metallic, the beats seemingly increasing in speed, the bass growling throughout. Yet the most uneasy moment is saved for the end – when the entire track threatens to distort amid the frenetic violence, thrown from the mosh pit.

The EP closes with the mesmerising ‘There’s Still Time’ which gives us seriously cool Mark E. Smith vibes. Joe Maxi are a joyous prospect, Their tetchy, talkative brand of art-punk makes them anomalies in a city which rarely favours the abstract over the elemental, but they are a band impossible to ignore.

“The Game demands and warrants your attention like most other EP’s can only dream.”

Their growing reputation as one of Ireland’s most explosive live acts is undoubted and earned through gut-busting dedication to their craft. At their last headline Dublin show in Bello Bar, punters were turned away at the door due to overcrowding, whilst those who managed to make it into the venue were transported to a raucous, unfiltered alt-rock show, complete with foundation-shaking mosh pits galore. Catch them if you can, while you can.

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Introducing waltzerr

We discovered waltzerr from our Musician’s Census, the band won a free managed press campaign from our friends at Musosoup. This means we can guarantee the music Blogosphere will soon be buzzing with the dreamy sounds of waltzerr. Here is the first of many glowing blog features.

This Seattle-based band masterfully blend dream pop and guitar-driven indie rock. They effortlessly soundtrack the lives of 20-somethings navigating themes of love, heartbreak, and self-doubt. The lyrics sound like they could be lifted directly from a personal journal which makes them immediately relatable. This is a new band, their first demo Blurry Eyes was only shared last year and it perfectly set the tone for what was to come. Since then waltzerr have shared four singles which neatly built anticipation of their debut 7-track mini album / EP ‘Small Talk’.

Released in August 2024, Small Talk takes listeners on an emotionally charged journey through unresolved adolescent feelings and pivotal life decisions. Dreamy, guitar-driven instrumentation complements waltzerr’s powerful vocal performances, creating a soundscape both immersive and comforting. The album captures the essence of longing and the struggle to move past regret.

Track one ‘Highway Star’ deserves its place at the front of the queue. Jangling guitars nod to The Smiths while dreamy lyrics offer the promise of escape and solace. “It doesn’t matter to me.”

Catch waltzerr live

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Words Mark Knight

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Introducing Sam Weber

Sam Weber is a singer-songwriter and multi-instrumentalist based in Los Angeles. His artistry, combined with his captivating voice and presence, feels otherworldly as if he belongs to another dimension but is spending time here among us mere mortals “for lack of better things to do.”

Clear and Plain

Weber also acts as a producer and is responsible for creating an album called Clear and Plain (co-produced with Mal Hauser) which is almost depressingly good. I use the word ”depressing” because all great art when profoundly felt, does come with an emotional burden – no matter how brilliantly it highlights one’s life and changes it for the better.

”Clear and Plain” will be a soundtrack of the time, or a phase in life, when one hears it for the first time. As such it will always be part of the listener and although it can be played over and over again, it will leave a void behind – albums like this don’t happen often. In the mainstream scene, this would be saluted with fifteen Grammies and Canadian-born Weber would get his own talk show. In reality, where profoundly great musicianship and songwriting is a dying breed of artistry, Sam Weber brings it back to life in a way you’ll never forget hearing.

From High Fidelity to Rufus Wainwright

Ever seen the movie ”High Fidelity” (2000)? There’s a sequence where the record store owner and his two ”music snob” employees discover Vince & Justin. Barry (Jack Black) is crumbling, facing an existential crisis as their music is ”so fucking good”. I am kind of doing the same, holding my forehead unable to believe what I am hearing as Weber’s ”Clear and Plain” is tuning my brain to a frequency it has only been about a dozen times before. Over the course of my own history, where the present time’s musical discovery is not just subjectively great and without a straightforward comparison but is objectively fundamentally fantastic, has only happened to me a handful of times.

Sometimes ”Clear and Plain” reminds me of two Gershwin-prize winner’s early solo work – Paul Simon and Carole King. Weber’s personal experiences made universal, sound a bit like Jeff Buckley here and there, especially in the phrasing on some high notes but clearly in a manner where Weber is not aiming at sounding like Buckley, it just kind of seems to happen naturally. As comforting as for example the 3rd track, gorgeous ”Void” is for the audience to cry with and within, it is easy to forget the album is someone else’s art, music and stories. Weber has the exceptional ability – like gold dust – to sound like he’s singing just for me, from a space called eternity and I was granted the privilege to hear it.

His presence lingers throughout this 38-minute 15-second-long masterpiece like he is there, with the listener, not singing from an ivory tower to his Instagram followers. References to fine art (Cezanne-fans Picasso and Matisse feature on the first track ”Tamarindo Sunsets”) mingle within social media-infused verbs, and in ”Silent Film” the purity and singing technique is close to Rufus Wainwright on ”Release the Stars” (2007).

A composer and a musician

Not settling for triads (basic chords), Weber should be noted as a composer as much as a songwriter or musician – he uses interesting compositions resulting in just the ”right” mood for each song. Neil Young may be the closest comparison ”within the genre” who has the same ability to sound always on pitch, reflect and mimic the right emotion – and always be right – even during the kind of tricky intervals. Weber’s album feels the same as if hearing ”Harvest Moon” the first time. The time and place will persist unchanged, no matter how many moments or years pass. When he harmonizes himself on ”Building a Bridge”, it has the same ”Hallelujah!”-quality as some great gospel songs. Artistically the last song grows to incredible heights… until the album, the experience, is over.

The ”Clear and Plain” album name is consistent with its production style but not ”plain” as in boring – it’s put together including everything necessary, but nothing more. That choice gives room for Weber’s flawless vocals to rise to the skies and paint them with expressive images of hope, and life itself as a theme with a brush made of solid 24-carat gold.

Great artists have the power to distinguish what is ”interesting” in little, ordinary details and come up with understandable stories about them to others. Acting lyrically almost as if Weber would be trying to point out how much beauty there is in being a bit lost, his work is something worth owning and cherishing, not just streaming.

”Mainstream should be as good as Sam Weber. “Clear and Plain” is a reference album and will act as one to a new generation of musicians to come – if we’re lucky.”

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Brandimarte – If I

Italian-born Brandimarte moved to the UK at 18 to pursue her artistic ambition. Her music is an introspective blend of alternative blues rock and indie pop drawing inspiration from diverse acts including Arctic Monkeys, Kate Bush and Massive Attack.

Brandimarte has spent years refining her sound and honing her songwriting craft. Along this journey, she’s been guided by mentors who have worked with major label stars including Lana del Rey and Sigala. Despite only being at the start of her journey she has already been invited to perform at renowned venues and networking events including the Notting Hill Arts Club and Tileyard Studios.

Now Brandimarte is ready to step out of the shadows.

Her debut single ‘If I’ is a brooding, contemplative tale about overcoming adversity and opening yourself up to vulnerability to unlock strength. It’s a powerful message that will land and resonate with audiences everywhere.

“If I wasn’t weak I wouldn’t be so strong and if I wasn’t right I wouldn’t feel so wrong.” Brandimarte

As a debut release ‘If I’ is a confident and assured statement of intent that perfectly whets the appetite for what’s to come. Our advice… hit the Follow button on her Spotify so you don’t miss a beat.

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Her cover of ‘Happier than Ever’ by Billie Eilish showcases her vocal ability, During the performance she seamlessly switches between sweet soul vocals and angsty indie pop. The future looks bright.

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Words Mark Knight

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Mount St. Helen – ‘Pariahs’

I’ve often thought the world looked and maybe even sounded better when viewed in black and white and Oxford newcomers Mount St. Helen are hell-bent on proving this point. 

Everything about Mount St. Helen seems optimised for monochrome with social posts, release artwork, logo, and even the video for their debut single Pariahs.

The net effect is an immediate sense of gravitas, this band feels fucking massive and immediately iconic. But a band can only get so far with a style choice, and Mount St. Helen backs it up with a devastatingly powerful debut single.

Pariahs sets out with equal parts ‘simmer’ and ‘jab’ before exploding in the most glorious of ways. Thunderous drums pound, wave after wave and guitars are hammered to a point beyond passion and angst.

By the time the refrain ‘Felt so real’ rings out you’ll be entranced. Mount St. Helen have put down a marker for indie bands in 2024. This is exciting.

Scouring the Internet does not reveal too much else about Mount St. Helen although I did discover there is a band called Mt. St. Helens Vietnam Band, whose song Albatross, Albatross, Albatross is also an indie banger!

Getting back to Mount St. Helen, we like what we see and love what we hear. Catch them live at the legendary Jerrico Tavern in Oxford on March 8th.

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Introducing The Lonely Together

The Lonely Together are an award-nominated alternative rock band from Scotland, led by the talented Mike Baillie. Their music is rooted in alluring melancholy and an abundance of hope. The perfect showcase for his distinct voice, skilful songwriting, and deft, heartfelt guitar playing.

Fans of artists like Blackchords, Snow Patrol, I Am Kloot, Frightened Rabbit and Richard Hawley should find something to love here.

Everything Viewed Backwards Through The Rearviewmirror

The debut album ‘Everything Viewed Backwards Through The Rearviewmirror,’ was released on July 9, 2021 and was prominently nominated for Scottish Album of the Year, that’s some start! The album featured Mike Baillie (lead vocals/guitar), Gemma Thurston (vocals), Matthew Casey (bass), and David Calder (drums).

“This is an album that immediately feels epic and urgent in the best possible way.”

‘Everything Viewed Backwards Through The Rearviewmirror,’ was recorded at the legendary CaVa Sound in Glasgow, and produced by Baillie and Geoff Allan. (Arab Strap, Hue & Cry).

If like us you missed this album the first time around, you are in for a real treat. This is a record that immediately feels epic and urgent in the best possible way. It’s easy to see why singles including ‘Congregation’ ‘Shot’s Fired’ and “Keep A Secret’ found their way onto BBC 6 Music.

Live In The Living Room

Between the release of ‘Everything Viewed Backwards Through The Rearviewmirror’ and the much anticipated sophomore record ‘Endless Sunset Oblivion’ the Pandemic raged. Feeling the weight of the situation, Mike began piecing together the music for what he instantly knew was the biggest and most existentially poignant record he had ever created. But a ‘lockdown album’, it was not…

During this time Mike Baillie also established his long-running ‘LIVE: In The Living Room’ livestream concert series. Baillie would perform to a dedicated, loyal following of ‘Loners’, He would go on to perform over 40 shows, comprised of setlists between 4-5+ hours each time.

Across these shows, Mike would perform 500-600 different songs. Combining cover song requests, dedications and songs that had shaped his musical trajectory, over the years.

All through this process, he continued writing, demo-ing and testing out new material, presenting new works and ideas at each Sunday live session.

Endless Sunset Oblivion

Written across four days, the title track, Endless Sunset Oblivion was created in the studio room of his home, in Edinburgh, in April 2020 and opened the floodgates for some of the most ambitious and personal songs Baillie has penned to date.

As soon as lockdown lifted, Mike called up his old friend, Rod Jones of seminal Edinburgh band, Idlewild and booked into his studio to begin work on the second The Lonely Together record.

“Endless Sunset Oblivion is an album that literally sparkles, it’s hard not to listen to this album and dream.”

Self-released via his imprint Rearviewmirror Records, the album was produced by Rod Jones and Baillie, mixed by Rod Jones, mastered by Ed Woods, and featured Mike Baillie (lead vocals/guitar), alongside Jonny Scott (Chvrches, The Kills) and Scott Kelman (The Little Kicks) on drums. It quietly became the album he had always dreamed of making.

As Mike puts it…

“They say that, in the moment before you die, your life flashes before your eyes… In that sense, Endless Sunset Oblivion is that moment and the rest of the songs on the record are snapshots of life – memories, regrets, heartbreaks, grief, joy – the full spectrum…”

There is a lot to admire about this beautiful record. The title track sets an upbeat optimistic tone which continues across ‘Don’t Ask Don’t Get’ and ‘Talk About Anything’.

The album settles into a more melancholy and reflective space with ‘Let Down’, the stunning ‘Los Angeles’ and ‘Take It Easy On Me’.

The energy returns with the anthemic ‘We Could Be Anywhere’ which feels like the Scottish twin of Springsteen’s Born To Run, it’s glorious.

The album closes out with the reflective ‘Cycle of Sadness’ and the intimate ‘This Is Just A Moment’ (It Will Pass).

The Edinburgh Fringe Festival Show

Baillie’s vision for this project didn’t end there, as it evolved into an original novel and an Edinburgh Festival Fringe show, Endless Sunset Oblivion: A Story On The State Of The World.

Throughout a full-festival run (24 shows) at The Edinburgh Fringe Festival, Baillie explored if one song could save the world. ‘Endless Sunset Oblivion’ told the story of Reuben – a young songwriter attempting to combat the accelerated problems the world is facing.

Through a compelling blend of live music and life-affirming, often humorous, storytelling, Baillie wove an enchanting tale for the modern age.

Baillie released ‘Endless Sunset Oblivion’ on August 4, 2023. The album is now out to stream or buy on vinyl via his own Rearviewmirror Records. Go immerse yourself in this fascinating album.

Where have you been?

The real joy of running a music blog are these true moments of discovery. It’s like being the first person to walk on a beach where the sand is perfect, it’s a wonderful feeling. But occasionally this joy is tempered with a feeling of frustration. How on earth can I only just be hearing this band?

Why are The Lonely Together, not a household name, playing on every major festival bill? I even had to check they weren’t. In a world where over 100,000 tracks are added to Spotify every day, many independent artists sadly get lost in the shuffle. The Lonely Together are a prime example of this. The good news, this can all change. What if we all just listened and told one other person about The Lonely Together?

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Words Mark Knight

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Izzy Potter – Can’t End What Never Was

While a stripped-back and refined indie track (at times), there’s an ethereal quality to ‘can’t end what never was’ that transcends normal conventions. The song evolves like a living, breathing thing, weaving through blissfully poppy serenades to thunderous guitars. Building and building, the atmosphere is endearing and delicately drawn with personable effects that undertone brilliant lyricism that’s both familiar and unique.

Potter’s vocal performance is stunning and warm while never losing that emotional rawness synonymous with her sound. The heartbeat of the whole song, a gorgeous picture is painted elegantly as the track rises to a euphoric ending. A climatic chorus that’s layered and catchy completes the ambitious track. Accompanied by a surge in intensity, the emotional weight of the track crescendos here also. 

The song’s structure is a well-crafted journey, with each section seamlessly flowing into the next. From the intimate verses to the explosive choruses and instrumental breaks that provide moments of introspection, “Can’t end what never was” keeps the listener engaged from start to finish. There’s a sense of unpredictability to the arrangement, with shifts in dynamics and instrumentation that stop the song from falling into predictability.

Beyond the sonic genius, “can’t end what never was” is a lyrical journey rich in introspection. The lyrics, poetic but not self-indulgent, evoke a sense of universal longing. Taught with bitterness and passion, the lyrics glue perfectly with Potter’s performance. Themes of missed connections, unfulfilled dreams, and yearning for what could have been resonate with the listener on a deeply personal level. The words linger, leaving an indelible, welcomed mark.

Izzy Potter’s new single is an eloquently woven indie-rock stunner. Transcending the boundaries of the genre, it delivers a sonic experience that is both immersive and thought-provoking. 

From its evocative lyrics to the well-crafted instrumentation, every element of the song contributes to a narrative that is as relatable as it is compelling. An exciting new single from an exhilarating, upcoming artist, ‘can’t end what never was’ hits all the marks.

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Words Ciarán Coleman

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Skies Behind – I Love It

Skies Behind hail from Cork, Ireland, a place often referred to as ‘the rebel county’, it’s clear that that sentiment wasn’t lost on this trio whose sparky, energetic sound has helped them garner an ever-growing and loyal fanbase. After releasing a string of singles and playing packed-out gigs all across Ireland, the guys are back with another explosive new single ‘I Love It’.

Made up of Dan Sheedy (Vocals and Rhythm Guitar), Joe Clarke (Drums), and Richard Brett (Lead Guitar), Skies Behind are set to release their highly anticipated EP, ‘The Spaces’ in no time. This track is the first single off it and, like any good single, it has left a mark that’s practically screaming for more music. The band’s classic set-up doesn’t limit their innovation at all; if anything, their three-piece set-up has propelled them to craft this wholly unique sound evident of ‘I Love It’.

‘I Love It’ by Skies Behind is a defiant alt-rock anthem.

Developed over 8 weeks in the band’s shared home, the chemistry these three share is stunningly present on this track as they dive into their worst fears and strongest hopes. An unorthodox recording setup has helped the band garner such a strikingly rich sound, with all but the drums being recorded in the group’s front room. Mixed and mastered by multi-talented Mike Dwyer at The Bunker Recordings in New York, ‘I Love It’ is sonically powerful while never sacrificing that intimate quality within the band’s sound.

It’s hard to pinpoint where or how this trio gets this single so right, but it’s safe to say it’s not unfamiliar. Already housing an eclectic and stadium-ready discography the sky really is the limit for ‘Skies Behind’. As mentioned before the chemistry between the guys is palpable, sifting through every note and chordal choice. The massive drums sit in the track with clarity and purpose but never overshadow the incredible vocal performance from Sheedy or the slick lead guitar work by Brett. Combined with eccentrically lush production, it’s an anthem for those feeling out of place, lost in a world moving too quickly.

Skies Behind work like a well-oiled machine on this single, while still feeling distinctly human in their approach to their art, whether it’s the passionate performances or personal lyricism. 

Speaking about “I Love It”, Skies Behind shared their perspective: “This song is about the overwhelming feeling of not being in control and not understanding what will make you happy. The hope in this song comes from the realization that leaning on those closest to you, and being there when they need you, is the greatest source of balance.“

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Words Ciarán Coleman

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Introducing GRAY

GRAY, a 19-year-old independent musician hailing from the poignant landscapes of North East Scotland, dives deep into the emotions of fear and confusion that come with unravelling a secret. Depths of a Sunken mind is his debut single.

GRAY – Depths of a Sunken Mind

With an irreconcilable thirst for being understood by someone you thought used to be close to you, GRAY’s debut track, “Depths of a Sunken Mind,” is an introspective journey into the web of threadbare emotions that go along with the burn of an unspoken secret.

In the beginning, “Depths of a Sunken Mind” hypnotizing with its minor-key guitar melody, evokes a sense of acceptance of what cannot be changed and surrounds the listener with the comfort of it. Continuing with the drums that give the feeling of struggle against the suddenness of what happened, weaving in harmony with the lyrics of the song, unfolds like an extremely personal record, enhancing the connection between you and the artist itself, while the deeply felt chorus pleads, “don’t tear me down, don’t tear me back,” revealing the fear of exposure and its potential consequences.

Collaborations and influences

Cooperating with the gifted artist ‘Divided by Dawn’, they co-wrote the charming drum arrangements. Over the following six months, the single transformed into what it is today, bringing the best out of these 2 individuals.

I should admit that as a music student, GRAY had the opportunity to utilize the college’s facilities to create this entrancing track. The result speaks for itself, a seamless tapestry of musical heartfelt storytelling that can reach everyone beyond what words can be. GRAY’s musical inspirations are a vibrant medley, blending acoustic sweetness inspired by such pop singers as Ed Sheeran and James Arthur from his formative years, with the more recent discovery of indie vibes close to Arctic Monkeys, The Killers, Radiohead, and Biffy Clyro. Among his all-time favourite artists, The 1975 and Joesef shine as beacons of unparalleled musical and lyrical brilliance, while Del Water Gap’s distinctive, intimate indie folk-pop sound has left an indelible mark on his musical experiences.

What’s next?

“Depths of a Sunken Mind” reveals the outset of appreciable artistry, with the ability to craft a song that resonates deeply within ourselves. The sense infused within the sound provokes awareness and calls to a memory of those whom we could unknowingly make hurt. GRAY’s introspective takes us through the odyssey of hidden sentiments which also leaves us somehow nostalgic, anticipating the next chapter in this young artist’s musical career.

Lastly, if you find yourself yearning for a touch of truth that strikes between soulful introspection and the melancholic side of things, look through GRAY’s “Depths of a Sunken Mind.” This single is not just a captivating debut but a revelation of a promising artist destined to leave an indelible mark on the music industry.

“As GRAY endures complex, brooding emotions with ‘Depths of a Sunken Mind,’ the nearing EP ‘Stop’ promises to bring moments of clarity to our inner lives with the dramatic symphony of musical storytelling that connects us all through the power of sound. With crafted wry lyrics and a Brit-punk edge reminiscent of Ian Dury, this young artist fearlessly confronts the perils of digital addiction, weaving a tapestry of introspection that leaves a lasting impact. Leverage this experience, and let the soulful world of GRAY’s music overwhelm your senses in its warm embrace.” 

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Words Denis Tsarik

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