Dec 21, 2025
best of 2025 • Golden Apples
Golden Apples is a prolific group of musicians formed and heralded by singer and songwriter Russell Edling. Shooting Star, their fourth album, is a sprawling new work packed to the brim with playful eccentricities and dynamism, one that owes as much of its inspiration to mid-century folkies like Michael Hurley and Karen Dalton as it does to alt rock of the nineties like Yo La Tengo and Stereolab. The album is a constellation of influences, experiences, and reckonings–with the state of the world, with others, with creativity, and with oneself.
Dec 19, 2025
best of 2025 • Avery Friedman • New Thing
“Her full-length debut, New Thing, is a work of raw singer/songwriter confessionalism, evoking the knotted melodies, homespun arrangements, and searing edges of musicians like Squirrel Flower, Babehoven, or Adrienne Lenker.“ – UNDER THE RADAR MAGAZINE
Dec 16, 2025
ifitbeyourwill S06 E21 • Highschool
HighSchool came together during Melbourne’s lockdowns, when time felt strange and options were limited. Instead of overthinking it, they focused on what they could control: making songs, working quickly, and trusting their taste. From the start, they weren’t chasing big arrangements or studio tricks. The songs came from a mood first — images, colours, a general feeling — and the music followed. Tempos stayed high. Parts stayed tight. If something didn’t serve the song, it didn’t stay. That approach runs through their self-titled debut.
A lot of that clarity comes from how the band works as a duo. Both are multi-instrumentalists, but roles matter. Lily, who began on drums before moving to synth, brings a strong sense of taste that keeps things from getting too clean or overworked. Sometimes the “right” part isn’t the most emotional one, and she’s often the voice pushing the song back toward feel instead of finish. When they moved to London, the process stayed the same. Writing became routine — like showing up to work — without forcing outcomes. They spent months in South Bermondsey, using a small studio as a shelter from the weather and the noise of the city. Melodies showed up when they were ready, sometimes half-asleep, sometimes all at once.
The album itself pulls from different moments. Some tracks took shape slowly. Others happened fast. Sony Ericsson is a good example — nearly scrapped, then rebuilt from scratch in a single day. That urgency is part of what makes it work. Mixed by Claudius Mittendorfer, the record keeps its rough edges while sounding focused. You can hear traces of shoegaze, post-punk, and dream-pop, but nothing feels overstated. It’s music that leaves space, but still moves.
Since release, the response has grown steadily. Radio support in Australia, the US, and the UK has brought new listeners back through the catalogue, song by song. There’s no big reset — just forward motion. The plan is simple: tour, write, release often, and don’t wait around for perfect.
HighSchool’s story isn’t about hype or reinvention. It’s about trusting your instincts, keeping the process lean, and letting the song do what it needs to do.
Dec 14, 2025
best of 2025 • The Beths • "Mother, Pray For Me"
“Mother, Pray For Me” is stripped-down and intensely personal. Over plaintive finger-picked guitar, Stokes’ voice is childlike in its wistful plea for connection. Here, Stokes grapples with the lives her parents have led, their mortality, and how to see them as people who did their best, even when it might not have felt like enough. “I cried the whole time writing it,” Stokes reflects. “It's not really about my mother, it's about me —what I hope our relationship is, what I think it is, what it maybe actually is, and what I can or can't expect out of it.” anti
best of 2025 • Ryan Davis & the Roadhouse Band • “New Threats From The Soul”
“If you don’t know it yet, it’s my privilege to tell you that Ryan Davis is one of the greatest songwriters of his generation. Bold instinct immediately insists that I lose the qualifications: he’s the greatest of his generation, he’s one of the greatest ever. Whatever. Posterity—if there is a posterity—will sort it out. Happily, New Threats from the Soul has beaten the Doomsday Clock to the wire, and we appear to have a little while left to revel in it, receive its revelations, and be revealed by it.
Dutch Interior • Play the Song • 2025
What perhaps hits hardest is the acoustic guitar pattern – dreamy, hypnotic, effortlessly emotive – a progression that lights a fire in your heart without ever raising its voice. It’s delicate, yes, but it carries weight; it holds space. It becomes the perfect vessel for Noah Kurtz to pour his heart out, weaving sentiment and melody into something quietly transcendent. Every strum feels like a step forward, every shift like a pulse, every phrase like a hand reaching out in the dark. atwood
Dec 11, 2025
ifitbeyourwill S06E20 • Eades
A granddad blasting Pink Floyd at school pick-up and a six-year-old jealous of a guitar lesson—hardly the makings of a band, yet that spark lit the path for Eades. We sit down with Harry Jordan and Tom O’Reilly to trace how a bedroom project became a songwriting engine that churned out 50-plus tracks during lockdown and led to Final Sirens Call, an album that swaps warehouse aggression for patient, song-driven craft.
We rewind through the DIY years—four mics on drums, Decapitator on everything, compressors barely compressing—happy accidents that gave their early work its raw honesty. From Gang of Four-style interlocking guitars to later sessions where Wurlitzer and organ opened new space, Harry and Tom unpack how they divide roles, welcome vetoes without ego, and build the trust that fuels creative risk. Influences like Dylan, Lou Reed, and Wilco’s Yankee Hotel Foxtrot pushed them to write songs that stand alone on acoustic or piano before layering in texture—space echoes, tape grit, ghost harmonies—to deepen the mood without losing the core.
We also get real about the hard stuff: sequencing a layered album where one track shift changes the story, adapting dense arrangements for a five-piece stage, and promoting ambitious music in a noisy world. But the momentum’s real—a hometown night at the Brudenell Social Club, an Independent Venue Week run, Europe ahead, and a third record tracked mostly live to capture the spark.
If you’re drawn to indie rock that balances DIY grit with evolving craft—post-punk pulse, garage roots, and rich arrangements—this one’s for you. Hear how Eades build songs that hold up on a single guitar, then bloom in the studio, and why their next chapter leans back into the raw joy of playing live. Subscribe, share with a friend who loves Wilco-era ambition, and tell us: which Eades track hits you hardest?
Despite an overarching influence from American indie-rock artists like Wilco and Richard Swift, Eades’ second album is a playful experiment of sound, with the echoes of many genres being heard throughout the tracklist; indie-rock, post-punk, Americana, 60’s, Britpop – you name it, they’ve dabbled. Experimentation being at the core of this album is no doubt due to the inevitable growth and self-exploration that comes with time passing, but also down to their new studio space, Bam Bam Studios, owned and operated by Eades’ frontman, Harry Jordan. With plenty of new equipment and a private, comfortable environment, the quartet had the freedom to really get creative and go in any direction they wanted – so they went in all directions. clunk
Dec 10, 2025
best of 2025 • Carson McHone • Pentimento
http://www.carsonmchonemusic.com/
Within seconds of Carson McHone’s Pentimento, one hears how the album organizes itself around this idea. Thrillingly alive in the music are exquisite articulations of pastoral folk with snatches of spoken word. Occasional riffs that call back to her roots in Texas build towards moments of organic and tactile rock. WRUV
Dec 8, 2025
ifitbeyourwill S06E19 • Ada Lea
A shy kid singing Christina Aguilera behind a bedroom door.
A bass in the school band.
A choir class where matching pitch felt impossible—and the sting of being told not to sing.
Fast-forward a few years: New York, tendonitis, and a hard pivot to voice lessons that changed everything. That’s the winding, very human path that led Alexandra Levy (you might know her as Ada Lea) to a sound that feels wholly her own—one built on stubborn curiosity, kind mentors, and the courage to start again. We caught up with Alexandra back home in Montréal, the city that raised her musically and still keeps her orbit steady. She talked about When I Paint My Masterpiece, an album that didn’t even start as an album. The idea was simple: trade perfectionism for momentum. Write a song every three days, share it with friends, move on. No endless revisions, no preciousness. Some sketches fell flat; others lit up instantly. Over time, the pile of demos turned into a record—less planned, more discovered.
Between recording sessions, she returned to school for literature, painting, and drawing—creative cross-training that sharpened her eye for detail and her sense of structure. That cross-pollination shows up everywhere: in the visual precision of her lyrics, in the cinematic pacing of her songs.
Teaching at Concordia University adds another layer. Watching her students take risks reminded her what real vulnerability sounds like. “They go to places I used to protect,” she says. That mirror helped her unlock something she didn’t know she’d lost.
We also talk touring—the logistics, the limits, the life part of the life. Levy has learned to keep the stage joyful by designing tours that feel human: shorter drives, earlier nights, and room to breathe. The goal isn’t just survival; it’s longevity. Through it all runs a quiet theme: mentorship, boundaries, and community practice as fuel. Art doesn’t survive on inspiration alone—it needs structure, kindness, and people who remind you why you started. If you’ve ever been told you can’t sing, that it’s “too late,” or that you’re doing it wrong, Alexandra’s story offers a better script. Skill is learnable. Art can be rebuilt. And a voice gets stronger every time you use it with intention.
Stream When I Paint My Masterpiece, wander the Mile End streets that echo through her melodies, and let the music remind you: the best art often begins where you almost gave up.
Dec 7, 2025
best of 2025 • Wet Leg • mangetout
Isolated in a remote house in the countryside, moisturizer was written in a creative frenzy, diving into themes of obsession and all-consuming love. While their 2022 debut earned Grammy wins and chart-topping success, moisturizer brings the bite: brash guitars, heavy beats, and a fearless devotion to feeling everything—all at once. Dom
You think I'm pretty, you think I'm pretty cool
You say I scare you, I know most people do
This is the real world, honey, bienvenue
In spite of everything, I guess there's just no getting through
Nice try, now get out of the way
Good job, just take a fucking hint
I said I'll see ya, wouldn't wanna be ya
Wouldn't wanna be ya, eh-ya-eh-ya, ah-ah
Nice try, get out the way
You're in our way, get lost forever
best of 2025 • Case Oats • Last Missouri Exit
A spectacular record release show for Case Oats’ debut LP “Last Missouri Exit” at The Hideout, with lots of love, family and friends in the room. Casey Gomez Walker and her crew delivered an amazing set featuring the full album, a handful of new songs and a great cover of The Clash’s “Lost in the Supermarket.” TV Buddha opened the show with a killer set of originals and an intense version of “Roadrunner” by The Modern Lovers. It was a perfect summer in the city night!
best of 2025 • Blondshell • If You Asked for a Picture
Consider If You Asked for a Picture as the second chapter in an ongoing novel chronicling the trials and tribulations of life in your 20s. On Sabrina Teitelbaum’s second album as Blondshell, which arrives two years after her eponymous debut, Teitelbaum is still haunted by the past and stumbling into the kinds of bad decisions that fueled Blondshell. Her head may be clouded by contradictions, yet here, she conveys these conflicted feelings in an increasingly confident, self-assured musical language. PF
Dec 5, 2025
best of 2025 • Alan Sparhawk With Trampled by Turtles • Not Broken
Grief doesn’t always sound loud. Sometimes it hums quietly in songs like “Not Broken,” from With Trampled by Turtles. Alan Sparhawk’s voice, joined by the band’s warm strings carries both pain and peace. It’s not a song about falling apart — it’s about holding on, finding calm in loss, and remembering love without anger. “Not Broken” feels like a moment of healing — simple, tender, and deeply human.
Dec 3, 2025
ifitbeyourwill S06E18 • sundayclub
A happy mistake at a concert.
A guitar rediscovered in the back of a closet.
Two students on totally different paths who somehow found the same sound.
That’s the origin story of sundayclub, a rural Manitoba duo whose music feels like it was pulled from an ’80s Polaroid—warm, hazy, and quietly intentional. Their new EP, Bannatyne, captures that balance perfectly: pop instincts wrapped in dream-pop atmosphere, four tracks that melt into one continuous mood.
When you talk to Courtney Carmichael and Nikki St. Pierre, you get the sense that their process is equal parts chaos and craft. Courtney writes with a diarist’s honesty, often chasing the feeling a moment left behind. Nick builds the sonic world around those words, leaning on production chops and an obsession with tone. A simple tuning shift to open C cracked something open—suddenly, new harmonies and melodies started falling out of the guitar.
They work fast to capture the spark, then slow down for the final stretch, refusing to rush a lyric or sand off a rough edge just to be “done.” That patience shows. Banatine isn’t a playlist of singles—it’s a short film in sound, one that breathes and unfolds with intention.
Their path to Paper Bag Records came with its own lucky breaks—a well-timed mastering grant, a few key community ties, and a lot of persistence. Listeners have already gravitated toward Nuclear Fallout, a track that wasn’t meant to be the standout but hit something unexpected. Courtney and Nick say that kind of connection means more than any genre label could.
Looking ahead, they’re teasing a reimagined “Last Christmas”, a run of Canadian shows, and new singles that stretch their sound without losing its heart.
If you’re into indie pop, dream pop, odd guitar tunings, and the craft behind a cohesive EP, this one’s for you. Stream the episode, spin Banatine front to back, and see which moment sticks. And if you love what you hear, share it with a friend—because that’s how good music travels.
54•40 • "Virgil” • 2025
Legendary Canadian rock band 54-40 return with their highly anticipated new album 'PORTO', set for release on January 23, 2026. The announcement follows the debut of four powerful new singles, "Running for the Fence," "Die To Heaven," "Time Will Tell," and "Virgil," released today, marking the beginning of a bold new chapter for one of Canada's most celebrated bands.
Cylindre • Ingénue • 2025
Cylindre is a New York City–based duo weaving together indie rock, post-punk DIY, and dirty dream-pop into something both atmospheric and immediate. Formed by Tim and Riley, the band’s debut album Ingénue, out now on Clearly Records, captures the spark of two artists discovering their shared sound through instinct and experimentation.
Dec 1, 2025
C Douglas • Around the Corner • 2025
A heartfelt reminder to live in the moment and hold onto what matters most.
C Douglas unveils his latest single, “Around The Corner,” a reflective and uplifting track about making the most of life and embracing the present. The song explores themes of mindfulness and gratitude, urging the people listening to not take others and the moments they’ve cherished for granted.
Recorded in Hull with acclaimed producer Steve Cobby of Fila Brazillia, the collaboration marks a fresh turning point for C Douglas in his creativity, Known for his genre-blending, instrumental work, Cobby brings an extra DIY-esq energy and fearless experimentation to the studio.
C Douglas said:
“He really opened my eyes and gave me confidence in this new direction, his approach made me realise my music was in the right hands.”
Nov 26, 2025
Nov 25, 2025
Haley Heynderickx & Max GarcÃa Conover • Song For Alicia • 2025
My grandpa was a communist, they might've said a terrorist
And when someone looks at what I've done
I know songs won't seem like enough
Songs are for sure not nearly enough
So it's ride, Alicia, ride
Move, Alicia, move
I would be Boricua even if I was born on the moon
The two groups convicted of American sedition
Are the Proud Boys and the Puerto Ricans
We share a Wikipedia page
So what else can you say?
It's ticker tape accumulation, neoliberal sublimation
New precariat convinced that immigrants are corporations
Hold the phone, just be patient while we burn your poets' pages
While the doctor takes the medicine and tries to fuck the patients
Oh my God, they put her in a courtroom in Chicago
They bound her hands behind her back, put tape across her mouth
And when she screamed, the tape released, and she said what the world says
"You cannot own a country, you do not own a country"
And so two guards took her legs and held her to the floor
While another punched her in the face and gagged her like before
And she got fifty years and more
And they never said what for
ifitbeyourwill S06 E17 • Mirrorball
We get into how they write: Scott starts with grooves, guitars, and synths in Logic. Alex listens, and melodies spill out — sometimes all at once, sometimes over time. Some songs bloom in a day; others sit for months, waiting for the right mood to arrive. Recording, for them, is a kind of home — layering overdubs until the room disappears and only the song remains. Playing live, though, demands something different: less control, more trust. The goal isn’t to be louder, it’s to make people feel. Small choices, big emotion.
There’s honesty, too, about what it means to be an indie band now. Without a label, they’ve handled everything themselves — the videos, the press, the endless scroll — keeping things moving with a steady run of singles. Now they’re building toward a full LP, something that captures the whole arc of who they’ve become. With producer Chris Coady’s touch — tiny shifts in timing, arrangements that breathe — the songs pulse and shimmer instead of shout. At home, Alex tracks vocals dry, chasing raw takes; Scott trims the noise, staying closer to what feels real.
If you’re drawn to guitars that glow, vocals that drift just out of reach, and rhythms that dance a little behind the beat, this one’s for you. Press play, sink into Red Hot Dust, and stay awhile. If it hits, tell a friend — the dream gets brighter when more people are in it.
the bittersweet wonderment of “Red Hot Dust” signals a truly enchanting debut is on the way.
—grimy goods
Nov 22, 2025
Wormy • "27 Days” • 2025
Shark River finds Rauchwerk embracing vulnerability with a collection of songs that explore loneliness, heartbreak, and the comforting but ultimately doomed escapism of life on the road. His work as a touring drummer has offered him precious little stability, but plenty of time for reflection. Skillful production and backing vocals from his bandmates Conti and Samia drench the LP in a sepia-toned indie glow, complete with the occasional pedal steel, but Rauchwerk’s vocals betray his fondness for emo-leaning folk luminaries like Bright Eyes and the Mountain Goats. Sometimes, his singing feels more or less like melodic speaking, a friend telling you about a hard day over a couple of beers; other times, you can feel his panic as he shouts into the microphone.
Jeffrey Martin • Alive July 25, 2025
Portland, Oregon folk artist Jeffrey Martin has announced his first-ever live album, Alive July 25, 2025, which is set to release on February 20, 2026 via Fluff & Gravy Records. The album was recorded at Portland's The Showdown and presents an unabridged take of the night exactly as it unfolded — whatever mistakes may have occurred, whatever musical wanderings — in the hopes that the magic of the live show could be captured in an honest way.
Nov 20, 2025
ifitbeyourwill S06E16 • Tiberius
A clarinet in fourth grade doesn’t usually lead to fuzz pedals, pedal steel, and a packed tour van, but that’s the path Brendan Wright of Tiberius traces on Troubadour. We start with the spark—how a quiet kid found a home in melody—and follow the trail to the moment those bedroom songs finally stepped into stage lights. Through it all runs one through-line: honesty. The kind that feels safe when you’re singing alone, and the kind that feels a little dangerous when a room goes silent to hear it.
Brendan talks about walking that line between catharsis and the reality of sharing their work. They used to write like they were passing secret notes to themself. Now the notes have to breathe among strangers. They open up about shifting from super-specific diary lines to lyrics built around wider feelings—anxiety, persistence, the weird fog of transition—so more people can slip inside the songs. It doesn’t dull anything; it actually sharpens it. You can hear it in a line like “Why do I try to keep on trying?” and in the way the band lets silence hang before a chorus hits.
We dig into the making of Troubadour, from the piece-by-piece construction of Fish in a Pond to focused sessions at The Record Co. in Boston. Drummer Ben Curell, bassist Kelven “KP” Polite , and guitarist Christian Pace helped pull the songs into their live shape, with Nate Scaringi behind the board helping the drums land just right. The result is a sound Brendan jokingly calls “farm emo”—folk bones, a little country dust, and an emo heart—wrapped in those loud-quiet-loud dynamics that feel as much Neil Young as they do modern indie. It’s tender one moment, towering the next, built for small rooms that don’t stay small for long.
We close on motion. The northeast run—Burlington, Portland, Boston, Albany, Philly, New York—feels like both a celebration and a goodbye to a set they’ve lived inside for two years. New songs are forming. Brendan’s headspace is shifting again. That’s the promise here: a record that captures exactly where Tiberius is right now, and an artist already leaning toward whatever comes next.
If this one hits you, tap follow, share it with a friend who needs a cathartic chorus, and leave a quick review—it helps more listeners discover Tiberius and stories like this.
Nov 18, 2025
ifitbeyourwill S06E15 • villagerrr
A deluxe release hits different when the songs feel like they’ve been kicking around in the dirt for years. On release day for Tear Your Heart Out (Deluxe), we sat down with villagerrr to walk the long, crooked road behind it—a story that starts in a small town, rattles through a red Pontiac Sunfire, and settles into the stubborn, hand-built joy of figuring out recording alone. Mark Scott talks about how long runs in cold air, odd hours cutting concrete, and a phone overloaded with gritty voice memos shaped a 16-track world that blends indie twang, folk warmth, and slowcore quiet. It’s the kind of record that asks to be played in sequence, the way you’d leaf through an old photo album—front to back, smudges and all.
We get into the slow shift from solitude to letting other people into the room, and why he only opens the door when the feel is right. The Merce Lemon feature arrived the old-fashioned way: see a set, feel something, and send a message that isn’t coated in industry varnish. Drummer Zane Dway adds heartbeat without sanding the rough edges, while Boone Patrello shows how a single late-night vibe call can lead to parts that sound like they were dug up rather than written. Most of the songs were nearly done before the guests stepped in, which is why the whole thing still sounds unmistakably Villager—one voice, one hand on the wheel, just more colours in the dust.
Real life hums in the background too: fans quietly singing the deep cuts, someone shyly handing over a record to sign after an opener slot, the strange feeling of seeing slow growth in places that aren’t algorithms or charts. We map out the Ohio college dates and a December run with Teethe, then lift the tarp on what’s coming next: another album already mastered, still self-recorded in the margins of real jobs and real days, sharper but cut from the same honest cloth.
If you care about albums built to be lived with, about DIY recordings that prize feel over polish, and about indie music that smells like cold air, old cars, and real life, this one is for you.
Spin the conversation, let the deluxe play straight through, and if it hits you right, follow the show, pass it on, and leave a quick note. It keeps the whole thing moving.
“Writing these songs has helped me look back on some of the events that inspired some of the songs to be easier on the people involved,” says Scott. “People are all pretty similar. We all make the same mistakes or if they're not the same, we all make mistakes and things are more complicated than they seem at the surface.” 'Tear Your Heart Out' is an album about relationships, friendship, and heartbreak and how you internalize and deal with the conflicts and pain happening in your life.
Nov 16, 2025
Constant Smiles • Moonflowers • 2025
Much like the night-blooming flora the album takes its name from, Constant Smiles’ Felte debut Moonflowers is the product of slow, largely unseen patterns of growth. The New York-based band forged a strange and fascinating path all their own on the way here, one that has traipsed through various home bases, an exceptionally fluid lineup, and wild changes to their sound on almost every entry in a small kingdom of stylistically restless releases. Though the band gradually grew from existing as an amorphous collection of highly conceptual ideas and experiments into something easier to grasp, every step of their unlikely route has led to Moonflowers, a subtle masterpiece of internally-born ambient pop.
CHRIS GARNEAU • riot • 2025
"With 'For Celeste,' Garneau has returned with an undeniably lush and soulful ballad and a moving tribute to owning identity and casting off shame."
- Under the Radar
"The song is anchored by a plucky harp that swells into an expansive string arrangement of viola, violin, and cello which adds depth to Garneau’s guilelessly wistful and liberating lyrics about calling out boundaries."
- KEXP
"Chris Garneau has always pursued his own strange sonic path, drawing on a diverse array of influences to create an otherworldly, haunting and distinct lane in the singer-songwriter universe."
- Billboard
- Under the Radar
"The song is anchored by a plucky harp that swells into an expansive string arrangement of viola, violin, and cello which adds depth to Garneau’s guilelessly wistful and liberating lyrics about calling out boundaries."
- KEXP
"Chris Garneau has always pursued his own strange sonic path, drawing on a diverse array of influences to create an otherworldly, haunting and distinct lane in the singer-songwriter universe."
- Billboard
Conor Oberst, Blondshell • Event of a Fire • 2025
This is the fastest song I’ve ever written. I was in Berlin and I love that city so much. I was walking around and just writing things down that I saw. It’s a little bit about the city but mostly it’s about being alone and being okay with that for once. Also, I love the idea that you can start and stop and restart things whenever you want… in that way I guess it’s really just a song about having agency.
orchid mantis • In Airports • 2025
I think a lot of people live their life in airports. Stuck, waiting for something just over the horizon. Travelers come into their life, and leave when the time is right, but they just keep waiting. I've had a lot of conversations recently about agency and preserving your passions. About not letting yourself drift. Living with a purpose, and avoiding that sense of complacency that creeps in as you age. There's so much we can't control. So much so that it can blind us to how easily we could change. Tomorrow, you could catch that flight. You could go anywhere. You could be a new person. You could leave the airport.
Nov 10, 2025
ifitbeyourwill S06E14 • Autocamper
There’s something beautiful about a guitar line that smiles while the lyric aches — that’s the trick Autocamper pulls off again and again. The Manchester band’s debut What Do You Do All Day? shimmers with that mix of brightness and bruising honesty.
Their story feels fittingly accidental: friends of friends, a project that almost happened, and finally a pub meeting that did. Out of that came a lineup stitched from deep-house childhoods, folk-festival summers, and an indie-pop instinct that just feels right. The result is a sound that breathes — light, melodic, a little dreamy, and grounded in real feeling.
When we talk about writing without irony, Jack laughs — it’s harder than it sounds. He writes from feeling first, letting words find their place once the music starts to move. Songs might begin as rough acoustic sketches or on a laptop at 2 a.m., but they only really live once the band’s in a room together. Everyone adds something different: the drummer’s electronic sensibility, the little melodic turns, the patience to leave space. It’s what makes the album flow the way it does — shifting vocals, thoughtful pacing, and hooks that sneak up on you later.
The reactions have been wild — singalongs in Glasgow, thoughtful notes from fans, and the odd review that missed the point entirely. That last one kicked off a bigger chat about how we listen, how we care, and why honest fanzines still matter.
At the heart of it all is sincerity. Autocamper’s not chasing cleverness or cool detachment — they’re after connection. And as they look ahead, they’re set on moving forward, not repeating themselves. The goal: keep it real, keep it human, keep it melodic.
If you like your indie rock with heart and a hint of ache, start here.
Spin the record, find your moment, and if it hits — tell someone. That’s how good music travels.
Subscribe to:
Comments (Atom)