Welcome to “The Indie Inspection!”
In this monthly feature, I dive into new releases from a handful of artists that deserve attention. In fact, the Indie Inspection takes full advantage of the malleability of “indie” as a concept and aesthetic. That could mean lesser-known acts releasing their music either independently or on a smaller label. It could also refer to artistic vibes and approaches that fall outside of the mainstream. It might even mean nothing at all!
My advice? Leave your preconceived notions at the door and just listen to the music.
May 2023 has been proven to be an absolutely terrific month for music. Not only have several big-name acts released outstanding albums, but the Indie Inspection email inbox burst to overflowing with options for coverage. The twist? It was actually very easy to choose the six artists represented in this month’s column. From hearty doom, sharp garage rock and passionate art-pop to outsider noise rock, warm ambient, and sweaty psych, my ears rejoiced in the music they experienced. I only hope that you enjoy these albums as much as I have.
Let’s get into it!
IRESS – SOLACE EP (Dune Altar)
I remain a big fan of the EP. As a concept, it offers so many options to artists of all stripes. It can help a young band hone its sound to its sharpest as they gain experience in the studio and as songwriters. More established acts can release an EP as a way to experiment with their aesthetic with reduced stakes. And it’s simply a way to release a few strong songs on their own without needing to develop a full-length.
IRESS embraces the power of the EP with SOLACE. Across four strong songs, the band serves up immaculate slow core packed to the gills with heavy dirges and big crescendos. Each one starts with soft, dreamy tones that gradually ramp up for crushing conclusions. Elegiac and resolute in presentation, it’s excellent hard rock with pop-rock chord progressions and doom metal atmospherics.
Throughout this debut release, the gorgeous alto vocals of Michelle Malley enchant the ears even as the guitars, bass, and drums work their own magic. “Soft” and “Ricochet” are my favorite tunes, as they conjure up appropriate goth-rock comparisons to Evanescence, Chelsea Wolfe, and Zola Jesus.
Lambrini Girls – You’re Welcome EP (Big Scary Monsters)
Oh look! It’s another debut EP featuring a badass band arriving on the scene fully formed. You’re Welcome by Lambrini Girls is further proof that you don’t need a slate of 10 songs to make a profound musical statement. Hailing from Brighton, UK, this tremendous trio creates frantic, kinetic post-punk packed with fiery sociopolitical lyrics.
Brittle, bristling guitars instantly jump into your head and set up shop. Then, a combination of pounding bass and pummeling drums become the surly shopkeepers at your favorite neighborhood corner store. But the chief attraction that brings in all the customers are the song topics: TERFs, sexism, and misogyny are completely decimated while sexual identity, healthy sexuality, and class consciousness receive positive affirmation.
Everything is channeled through a brand of incendiary garage rock that revels in snark and irreverent charm. I hear copious levels of Savages, Bikini Kill, and Iceage throughout, especially on standout tracks like “Boys in the Band,” “TERF Wars,” and “White Van.”
Maggie Miles – The Lack Thereof (Warehouse West)
Here’s where I tell you that this installment of Indie Inspection doesn’t feature a traditional folk singer like we have across several previous months. While you can bemoan the lack of acoustic guitar strumming, I’d rather you pay attention to the passionate art-pop of Maggie Miles. This young Nashville-based artist fuses winsome lyricism with soaring rock energy and a hefty edge.
Her sophomore album, entitled The Lack Thereof, shows off Mills’ fantastic alto pipes. Her big voice delivers bigger moods atop driving music complete with excellent guitar, pulsing bass, and fun keyboard flair. I found her brand of ‘90s singer-songwriter energy to be an effective complement to the 21st century alt-rock stylings of the music.
“Indecent,” “Momentum,” and “Asleep” displays how she embraces her influences with ease while still finding fresh ways to reinterpret them for new generations of music fans. Think Katy Perry fronting Incubus. Charli XCX leading System of a Down. Meredith Brooks teaming up with Imagine Dragons. And it totally works.
Mandy, Indiana – i’ve seen a way (Fire Talk)
Look. I don’t know why I didn’t give this band a full review. Something about my day job and real life. Because I’ve listened to this album at least 10 times since May 1st. It’s so good. It’s everything I want in contemporary rock music: Cavernous noise, propulsive rhythms, industrial furor, and electro-clash futurism.
With i’ve seen a way, Mandy, Indiana stakes its claim as the latest and greatest band from Manchester. And just like their musical forebears, this quartet possesses a preternatural ability to update classic rock ideas for a brand-new decade and beyond. They’ve developed this fascinating brew of vintage no-wave punk, keening Italo-pop, and experimental rock that confounds and astounds me.
This is a visionary band with piercing intensity and clarity of artistic vision, one that revels in how it uses volume and space. However, instead of bludgeoning listeners with an aural onslaught – and trust me, the album is abrasively noisy at times – the group executes a series of furious tactical strikes packed with purpose. Combining elements of Bjork, Wire, The Fall, New Order, and more, the group has vaulted into the upper echelons of my Best of 2023 rankings. Just listen to songs like “Drag [Crashed],” “Pinking Shears,” “Peach Fuzz,” and Sensitivity Training” to hear what I mean.
Marcel Sletten – Mammatus Clouds (Primordial Void)
I’ve reviewed this fine musician twice before here at Bearded Gentlemen Music. He has a keen knack for fusing subtle electro, folk arrangements, and ambient curiosities into a unique whole that completely captivates me. And on his new album, Mammatus Clouds, Marcel Sletten has gifted the world a sublime set of songs.
The project overflows with a heady warmth that is somehow rich and full without being overwhelming. It’s the perfect complement to a chill afternoon of day drinking because it provides a level of depth and presence that holds you still while also encouraging intentional movement. Whether as string sections, effects patches, or snippets of melody phrases on keyboards, the layers of synths dance effortlessly.
Led by tracks such as “Ghost,” “Russian Hill,” “Everlasting Soul,” and “Dunsmuir III,” the entire affair is well-paced and thoughtful. If you like the idea of Delia Derbyshire hanging out with a hyperactive Claire Rousay or a relaxed Rachika Nayar, you will love this album.
Miranda and the Beat – Miranda and the Beat (Ernest Jenning Record Co. / King Khan’s Khannibalism)
No matter what happens, vintage rock will never die. Jamming with a few friends in a poorly ventilated garage will hold a visceral appeal. We will always have bands writing hooky three- and four-chord rock songs about broken hearts, complaining about grownups, and otherwise being rebellious. And what separates the successful acts from the weekend warriors remains the same: Commitment to the work and a passion for the craft.
That’s exactly why Miranda and the Beat hits with such resonance and fervor. Yes, Indie Inspection has heard this brand of ‘60s rock before, but the band’s self-titled album showcases a band that enjoys pushing those sounds to their limits. We’re talking about psych sensibilities, girl group grooves, and effervescent echo, and it’s all driven by the powerful alto pipes of Miranda Zipse.
Across ten tracks of noisy guitars, overdriven bass, and reverb-drenched fun, the quartet seamlessly sews up sweaty and sultry with style. The music features taut ideas, a passion for musical exploration, and the Farfisa skills of Dylan Fernandez. If you’re a fan of The Animals, The Doors, and Dum Dum Girls, you’ll love tunes like “Sweat,” “Out of My Head,” and “Let You Go.”