Indie Obsessive
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This blog is generally directed to indie music and more particularly to a concert obsessed audience. They are a proud contributor to Hype Machine.
Indie Obsessive
6d ago
The vocals in “Nagoro” possess a charisma that pulls the listener into the emotion of the song, regardless of any attempt to understand the lyrics or grasp any meaning. Simultaneously, the instrumentation offers another compelling element, adding to the allure of the single by Supercaan. Interestingly the song features a vitality profile that is the reverse of the Japanese village from which it borrows its name. “Nagoro” establishes energy expectations during most of the track, then exceeds those expectations beginning at 2:48. In contrast, the Japanese v ..read more
Indie Obsessive
1w ago
Zach Bailey showcases his refined brand of sophisticated Pop Rock with his latest release, "See Ya Next Time," a heartfelt breakup recovery declaration. The Rock sensibilities are best displayed during the guitar-driven bridge that begins just before the two-minute mark. The sophistication permeates the entire track, with a standout moment occurring around 2:21, when the vocal processing sometimes carries an ethereal beauty reminiscent of monks delivering a Gregorian Chant.
Still, “See Ya Next Time” is best characterized by its ..read more
Indie Obsessive
3w ago
With “Silver Stain,” Maudlin Strangers engage in another dark exploration of the complexities of human emotions. This time, this song intelligently delves into the difficulties of a troubled relationship. Their other 2024 release, “Don’t Worry, I’m Fine” addressed burnout and the need for recovery. That release is also included in this post. Late last year, Maudlin Strangers tackled the subject matter of addiction and the resulting inner conflicts and turmoil.
The first verse of “Silver Stains” is misleading in its description of ..read more
Indie Obsessive
3w ago
The initial 21 seconds of “We’re Lost” share the tonal personality and charm of the guitars in The Beatles’ “Blackbird,” despite the melodies being fundamentally different. Then, the complexity and skillfulness of the instrumentation leap forward into the second part of the intro of Little Oil’s song. This two-part introduction establishes high expectations, and the entrance of an engagingly distinctive voice only serves to raise the bar higher.
Still, there is more to the appeal of the song than guitar and vocals. Shortly befor ..read more
Indie Obsessive
1M ago
"In My Kingdom" offers a rare fusion of sophistication and unfettered entertainment. It possesses the ability to grab the attention of listeners, urging them to prioritize checking out The Bogmen's tour schedule immediately; the song encapsulates everything that makes a favorite among gig-goers. It's intelligent yet uncomplicated, and is substantial yet exuberant and full of life. It's akin to a 1960s muscle car that can kick into another gear (or two) even after seemingly reaching its peak performance. Those extra gears are engaged after the three-minute mark of “In ..read more
Indie Obsessive
1M ago
“Close Enough” embraces dualities, notably in the vocals and the lyrics. The lead vocals convey an emotional vulnerability with a passionate fearlessness in a vocal register that invites listeners to join. In comparison, the song from Stress Dolls is sprinkled with an almost angelic declaration of “I can’t keep running” in a challenging-to-join, high-register voice, where vulnerability resides in the voice, rather than the words. It’s an impressive combination from Chelsea O'Donnell.
When initially focusing on the lyrics (i ..read more
Indie Obsessive
1M ago
Reviews of “All She Was" have been posted, and there are comparisons to the storytelling style of classic Bruce Springsteen and modern-day Sam Fender. And we agree; there is an uncommon intelligence in the lyrical description (the lyrics are included in this post). But from the vocal and instrumental perspectives, our comparisons are to Kings of Leon and the guitarist of U2 (“The Edge”). The vocal comparison is most apparent at the start of the song from Midwave Breaks. On the other hand, the chiming timbres through echoing notes, which are perhaps most aligned ..read more
Indie Obsessive
1M ago
The vibrance of the instruments shines brightly right from the outset of "Oh Emily." Powerful percussion initiates the song, soon followed by intertwining guitars. Energetic drums are a near-constant through the track from Somebody’s Child, while the accompanying instrumental contributions vary. Interestingly and creatively, “Oh Emily” does include a brief segment without drumming, followed by a Beatles’ George Martin tape-manipulation sound. The sans-drum segment begins around 2:25 and the appealingly uncommon sound is heard 12 seconds later.
&nb ..read more
Indie Obsessive
1M ago
“what do you say?” is the first track on the recently released self-titled album from QUIET CONFIDENCE. It should include a public service announcement raising awareness that judging and leaving the song based on its start will lead to a personal disservice. The unadorned initial 47 seconds have an appeal, but probably not sufficient for the entirety of a song. The vocals are heartfelt, but low-key and low energy. And the guitar sounds as if it were a budget friendly purchase by someone considering taking the instrument seriously.
  ..read more
Indie Obsessive
1M ago
“February” showcases a captivating interplay of intense, low-frequency drumming juxtaposed with softer, higher-pitched guitar and vocals. The appealing contrast is projected from the start of the song from Mt. St. Helens Vietnam Band, as a calming guitar hook sandwiches bursts of aggressive percussion. In this case, the guitar prevails – the percussion is less forceful with each of its opportunities to interrupt the guitar.
Mt. St. Helens Vietnam Band explains, “’February’ is about apologies that often get left unsaid.” The lyric ..read more