The Afro Nick has always been a bit of an outsider. From his early days busking on the streets of Crete to forming one of the island’s first indie rock bands, he’s consistently found himself just outside the norm, using music as both an escape and an assertion of identity. His latest single, “Get There Before Noon (LA Mix),” is another chapter in that story—a raw, somewhat unpolished indie rock anthem about seizing the day, shaped by his unique background and perspective.
Ethan Gold’s new single, “I’m In The Moon,” is an introspective anthem for the introverts, a pulsating track that captures the beauty and complexity of solitude. While it’s an energetic tune, its heartbeat is in the defiance against the pressures of social interaction—a nod to those of us who carry the weight of trauma and rage quietly. Gold calls it “a hermit’s anthem,” and it’s easy to see why.
Clay Benjack’s latest single, “Melt,” is a sonic exploration that feels larger than the Norfolk, Virginia apartment where it was recorded. Despite the modest recording space, Benjack manages to create a track that feels expansive and immersive, inviting listeners into a layered, atmospheric world.
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Karen Salicath Jamali’s Dreams of Angels offers listeners a unique musical journey that defies convention. This newly released album is an unfiltered expression of emotion, delivered as it was received—recorded in the early hours of the morning, raw and untouched. Jamali’s approach embraces imperfection, creating a deeply personal, unrefined work that invites listeners into a space of peace, compassion, and healing.
Janita’s “Real Deal,” the lead single from her forthcoming album Mad Equation, is a reflection of her ongoing evolution as an artist who refuses to fit into a mold. Produced by Blake Morgan, the track feels like a distillation of her career-long journey: a blend of thoughtful songwriting, subtle defiance, and precise musicianship. While its surface might seem tranquil, “Real Deal” carries an undercurrent of rebellion—an ethos inspired by films like The 400 Blows and Butch Cassidy and The Sundance Kid, both of which influence its thematic depth.
Wes Coeur’s jerrord is a masterclass in duality. On the surface, it’s an effortlessly cool slice of electro-pop—driven by a thick, pulsating synth bass and topped with Wes’ Auto-Tuned melodies that glide somewhere between playful croon and knowing smirk. But dig a little deeper, and you’ll notice how chalant it really is. The production is polished to perfection, every layer meticulously placed, and the music video oozes style with a clarity that betrays how much thought went into it. This isn’t some slapdash bedroom pop experiment; this is calculated cool.
Andrew Schneider’s reimagining of XTC’s Mermaid Smiled is a masterclass in reinterpretation, managing to honor the original’s intricate charm while carving out space for a broader, more dynamic sound. Releasing November 15, 2024, the track feels like an invitation to step into a whimsical, nautical world where childhood wonder collides with the sophistication of adulthood.
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Alice Phoebe Lou’s latest single, “Better,” released on November 8, 2024, is a testament to her evolving artistry and ability to craft intimate, reflective music. With its rich, analog-inspired production and thoughtful lyrics, “Better” feels like a modern-day ode to the smooth textures of 1970s vinyl, yet it remains entirely in step with the current indie music landscape.