Our Indie Kids playlist celebrates everything on the indie spectrum, whether that’s rock, folk or pop, because we firmly believe in taking a little walk off the beaten track every once in a while.
‘Ash on the Floor’ is a stunning pivot for No Love For The Middle Child, capturing the heavy clarity that follows a relationship’s collapse. Originally an acoustic sketch, the track evolved into a moody, electronic-driven powerhouse. Andrew’s classical training as a cellist informs the song’s sophisticated structure, while propulsive drums and live DJ scratches inject a restless, dark urgency. The production feels like a controlled explosion, that balances intimate, confessional lyrics with high-voltage energy. It’s a masterful bridge between indie-pop vulnerability and alternative-electronic grit, signaling a bold, unflinching new era for the Los Angeles-based producer.
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Pairing brooding electronics with duo TENDER’s signature, slow-burning intimacy, ‘Heavy’ sinks into the chest before it ever reaches the dancefloor. Soft synth swells and muted beats create a tide-like pulse, while James Cullen’s hushed vocal carries the ache of quiet self-doubt, a less dramatic meltdown, more existential murmur at 3 a.m. The lyrics confront the strange guilt of feeling lost despite having everything, a crisis rendered with stark honesty. Self-produced with meticulous restraint, the track balances shadow and light, tension and release. ‘Heavy’ feels weightless yet emotionally dense, a beautifully conflicted preview of an album unafraid to sit with life’s messier middle ground.
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In ‘Didn’t I’, Dutch-Surinamese artist néomí delivers a haunting post-mortem on a fractured romance. Released via Nettwerk, the single leans into ethereal folk and cinematic minimalism. The track expertly captures the helpless weight of carrying a partner’s chaos, utilizing sparse instrumentation to amplify néomí’s cuttingly honest vocals. Reminiscent of Phoebe Bridgers and Daughter, she wields intimacy like a weapon, turning self-doubt into a quiet, devastating reclamation of self. It is a slow-burning masterclass in vulnerability, proving that néomí’s newfound clarity is as powerful as her signature poetic heartbreak.
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Trainwreck Boyfriend’s ‘Freakshow’ is a punchy, neon-streaked burst of indie rock that turns chaos into catharsis. Produced by Kyle Pulley, the track blends crunchy guitars with wiry synth lines and an unmistakable ’80s shimmer, giving its alt-rock backbone a danceable edge. Greta Madeline’s vocal cuts through with sharp wit and raw charm, delivering confessional lyrics that feel both self-aware and defiant. The hooks land fast and stick hard, echoing influences like The Beths and Veruca Salt without feeling derivative. Energetic and gloriously unpolished, ‘Freakshow’ celebrates life’s beautiful mess, proving Trainwreck Boyfriend thrive exactly where things fall apart.
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Sharpens willoh’s already unpredictable experimental rock palette into something thrillingly disorienting, new song ‘FASHION’ is carved out from jagged synths and blown-out drums while sheets of distortion threaten collapse. Yet, her featherlight vocals float through the chaos like a lifeline. The push-pull between abrasion and tenderness keeps the self-produced track teetering on the brink, rewarding repeat listens as its cryptic lyrics slowly surface. There’s a Murakami-esque unreality to the narrative, climaxing in a breathless confession that stings long after the fade.
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The Wexford brothers Basciville eschew romanticized nostalgia, in their single ‘Saintmaking’, which is a searing act of emotional accountability wrapped in textured folk-rock. They delive a slow-burning anthem about the quiet resolve required to stay present. With echoes of Jeff Buckley and Nirvana Unplugged, the track builds from sparse, inward-looking verses into a cathartic crescendo of soaring vocals. It’s a sophisticated preview of their album Love In The Time Of The State, blending cinematic art-rock with a raw, unflinching honesty. Here, Basciville transforms existential weariness into a restorative, powerful plea for clarity and groundedness.
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Propelled by upbeat drums, chiming guitars, and a hooky, almost carefree melody, ‘Straight Down’ by Everyone I’ve Ever Known is a bright, jangly gut-punch disguised as an indie-pop rush. The song cleverly masks its heavier subject matter: reckoning with lost time, self-sabotage, and life lived under unchecked ADHD. The contrast hits hard. While the music surges forward with restless energy, the lyrics linger on regret and hard-earned self-awareness, turning confession into catharsis. There’s emo honesty beneath the gloss, raw but never self-pitying. Instead, ‘Straight Down’ feels resilient. It’s about stumbling, owning the damage, and still choosing to try again with stubborn, hopeful momentum.
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With their first LP in 19 years on the horizon, the Atlanta trio The Yum Yum Tree delivers a track built on the essential trinity of crunchy bass, propulsive drums, and an undeniable hook. ‘Shine’ is a glorious time capsule, resurrecting the guitar-driven magic of ’90s female-fronted indie pop. Andy Gish explores the mature, uncomfortable space of wanting the best for someone you can no longer have. Channelling the angst of The Breeders and PJ Harvey, ‘Shine’ balances raw vulnerability with self-assured production. It’s a refreshing, honest anthem that cuts through modern noise to find something real.
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‘Projectors’ is a sprawling highlight from The Notwist’s forthcoming album, News from Planet Zombie. Marking their first studio recording in an expanded live formation since 1995, the track is a lush, orchestral waltz that seamlessly blends country-folk sensibilities with experimental brass interludes. With lyrics about resilience written as if delivered by Rutger Hauer in Blade Runner and backed by Sufjan Stevens-esque melodies. Recorded in Munich, it captures the band’s signature balance of melancholy and warmth, responding to a chaotic global landscape with local intimacy. It’s a beautifully layered, cinematic triumph.
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‘Tiempo’ is a fascinating study in contrast, blending a sped-up, Latin-pop-inspired reggaeton beat with a heavy, meditative stream of consciousness. Born from the collaboration between London’s Sam Lewis and Brighton’s Robert Hunter, the track serves as a vibrant pulse for their upcoming album, Hot Fruit. Sam’s half-Chilean heritage drives the rhythmic experimentation, while the lyrics grapple with the gravity of fatherhood, lockdown paranoia, and the complex weight of his Jewish roots amidst global conflict. Tree Trunks don’t shy away from life’s anxieties, delivering a danceable yet deeply intellectual bedroom-pop experience.
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PURPLE MELON 