This week’s intern pick is independent artists to celebrate Independence Day. When we say independent, we mean artists who are not signed to a major label or one of their subsidiaries. While many artists who are signed to major labels do incredible work every day, we thought it would be fun to take a stab at some of our favorites who have taken a different approach to their careers!
Ashley’s Pick – “Birdseye” by Babehoven
My independent pick is a band out of upstate New York called Babehoven. I found out about Babehoven nearly one year ago to the day when they came through a venue I was interning at up in Portland, Maine (shoutout SPACE!). At soundcheck, they tried out the single from their then-new record, “Birdseye”. The song blew me away into some peaceful imaginary breeze. The band is fronted by Maya and Ryan, partners in music and in life, creating intensely intimate, tender records. I talk a lot about the importance of honesty in songwriting, but I can pretty confidently say that Babehoven has mastered this skill. I’m always returning to their catalog when I feel stuck repeating playlists. Their record from last year entitled “Water’s Here In You” is a sacred, grounded collection of works that are fully rooted in intention. They released it under the independent label Double Double Whammy, home to other names like This Is Lorelei and Florist. I’m excited to highlight them this week and get to show off how cool independent music can be!
It’s only right that I spotlight the song that drew me into the Babehoven universe, which was “Birdseye”. This track is all about texture. Glittery acoustic guitar, a chasing drum pattern, and a tiny egg shaker open the story up softly, as an apology might begin. It develops quickly, introducing droning strings and barely-there electric guitars. The individual elements are pretty stripped back on their own, but all together, the song becomes a living, breathing thing. At the heart of it is Maya’s vocals, layered over and over in echoes like she’s singing to the Earth and it’s singing back. She begins abstractly, then hones in on a central line that has never left my mind, “With hands outstretched / I forgive you”. I’m not sure I can recall another time I’ve heard “I forgive you” in a song. It’s a shocking heartbreak on every listen. The second half of the song swells and retracts like a wave, carrying Maya’s words of open forgiveness over a sea of breathtaking harmonies and an ever growing musical blanket. “Birdseye” is truly one of few songs that make me believe in a love that is malleable and abundant.
Listen to “Birdseye” below!
Quin’s Pick – “Moonlight on the River” by Mac Demarco
There is a lot that can be said about the “indie” label. The meaning of the word has spread far and wide from its original distinction, which is a proud proclamation that a band or artist is genuinely on an independent label or is doing it all themselves. Nowadays, one can think of a million different options of “indie” artists, many of whom are on a major label (or subsidiary), which defeats the whole purpose of the original meaning. This fact alone doesn’t diminish any of the great work that these artists do, but it is an interesting thought when thinking about the true meaning of the word. When I think of the word “indie”, there is only one man who comes to mind: Mac Demarco. Like so many people my age, Mac Demarco opened the door for me to much of what could be considered “indie” music today. Luckily, Mac also fits the original definition, having released much of his work under the independent record label Captured Tracks and now his own record label. One can’t help but be swept away in the mythology that is Mac Demarco. From the lo-fi production, to the sweeping guitar riffs reminiscent of surf rock, it isn’t often that something so unusual has such widespread appeal. To me, it is music that feels like being young. While I know that much of this could come from him being the soundtrack to so much of my childhood, I know that many feel the same. Even after all these years, I am irresistibly drawn to the endless charm packed into Mac’s music, which is why I’m choosing him as my Intern Pick of the Week.
When considering a song by Mac to highlight, one is immediately hit with option fatigue. There is a plethora of fun, summertime anthems that I could choose that I’m sure everyone would love. However, I’m more inclined to lean toward a pick from Mac’s album This Old Dog. An album about the strained relationship between him and his father, it effortlessly demonstrates the range that Mac has. For this week’s pick, I’m choosing Mac’s song, “Moonlight on the River” which perfectly describes the feeling of being gutted. It is a vignette of the exact moments of the night when one can’t help but be lost in thought. It’s a reminder of how simple surroundings can take you away to the strangest of places, personified by the cacophonous synth build that ends the song. It’s reminiscent of a song like “I Want You (She’s So Heavy)” by the Beatles, where you’re taken out nearly right as you’re sucked in. In my opinion, it is about as perfect as a song can be.
Take a listen to “Moonlight on the River” below!
Quinn’s Pick – “Jack and Jill” by Mac the Knife
Operating entirely outside the mainstream machine, Mac the Knife represents the raw, self-made spirit driving today’s independent music. Mac the Knife is a ferocious post-punk/rock band born from a sweaty garage in Sydney, Australia. I first discovered them through lead singer Bryn Chapman Parish, who also stars in the Aussie teen drama Heartbreak High, but it was the track “Jack and Jill” that pulled me in. It is a twitchy, off-the-wall anthem—loud, catchy, and undeniably fun. The band comprises five members: Bryn Chapman Parish, Curtis Van Haasteren, Jonny Sandstrom, Anthony De Lorenzo, and Gerry Thompson.
Together, they deliver gritty guitars, razor-sharp vocals, and a raw, explosive, deliberate intensity. Mac has earned a reputation in the Sydney music scene as one of the most captivating live acts. This led Backyard Opera to name them “A hidden gem of the Australian Music scene”.
“Jack and Jill” appears on their 2018 EP, Silvertongue, a title that traditionally connotes eloquence, persuasion, and rhetorical finesse. While the name suggests polished charm, the track is jagged and surreal, layering sharp vocals over twitchy rhythms and distorted riffs. Bryn Chapman Parish’s vocals walk the line between theatrical and unhinged, perfectly complementing a soundscape that feels both chaotic and tightly wound. The song stomps through an uncontrollable environment, driven by thunderous percussion and blistering guitar melodies, woven together to create an angsty punk-rock anthem. With its frantic energy and defiant edge, “Jack and Jill” captures Mac the Knife’s attitude of music, written for the people, by the people.
Listen to “Jack and Jill” now!
Darci’s Pick – “Take Your Aim” by Rocket
This week, my intern pick is “Take Your Aim” by Rocket. Based in Los Angeles, the band consists of Alithea Tuttle (bass/vocals), Baron Rinzler (guitar), Desi Scaglione (guitar), and Cooper Ladomade (drums). The childhood friends started making music together during lockdown of 2020, and released their debut EP, Versions of You, in 2023. Through this EP, Rocket established their astonishing ability to create immersive noise-rock that is packed with textured guitars, catchy bubblegum melodies, and ethereal vocals. Earlier this year, Rocket announced that they had signed to the independent record label, Transgressive Records. Since signing with the label, Rocket reissued their debut EP, as well as released the singles “Take Your Aim,” “One Million,” and “Crossing Fingers.” They are also embarking on their first-ever headlining tour, where they will be stopping in Nashville at DRKMTTR on November 11th.
“Take Your Aim” is the first single that Rocket released after signing to Transgressive Records, and also appears on the reissue of Versions of You. The track initially hits you with a wall of sound executed through fuzzy, dense instrumentation. Throughout the song, it consistently highlights Rocket’s skill to layer guitars in a way that completely submerges you in a wave of distortion that is nothing short of beautiful. Tuttle’s dreamy vocals serve as a juxtaposition to the song’s brutally honest lyrical content. Between the track’s enticing, shoegaze-esque sound and head-banging intensity, “Take Your Aim” is a clear choice for my intern pick this week.
Listen to “Take Your Aim” below!
Brandon’s Pick – “IWR” by caroline
caroline has received lots of well-deserved recognition for their most recent project, caroline 2, the sequel to their self-titled 2022 project. However, in my opinion, I believe the hidden gems of the avant-garde octet’s discography come from the latter project, songs like “Dark blue”, “Engine (eavesdropping)”, and a song that has meant so much to me for such a long time, “IWR”.
caroline is an eight-piece band hailing from London, England. They formed in 2017 and signed to the independent music label “Rough Trade.” Their music is hard to describe, yet beautiful in a plethora of ways. It’s experimental and avant-garde, but glows with hints of inspiration from Midwest-emo, post-rock, and indie bands. Much of caroline’s music, especially off their first project, bends the rules of what constitutes as “music,” and allows so much space for the listener to make their own meaning through the song. Through ethereal melodies, complex structures, and stripped back lyrics, with caroline, nothing is wasted and nothing is lost.
“IWR” is a soft and repetitive, yet powerful ballad. The song features a series of chords, struck repeatedly, as band members utter, en masse, the same phrase throughout the song, “Somehow, I was right, all along.” As every line floats into the next like some fixation on an introspective reflection, a guitar is played in the background, so delicately as if the player is barely strumming the guitar at all. The song progresses as a pair of two violin melodies join into the song, dancing and weaving their way around each other as the sound blossoms. Just as caroline slowly adds to a full collection of sound, one by one, each instrument abandons the song, leaving it stripped back and bare as it was to begin with, before fading to nothing. “IWR” is a true piece of art, undefined in meaning, leaving space for the listener to apply their own, as a mosaic of beautiful melody colors the song and carries you through delicate playing and a dance of instrumentation.
Listen to “IWR” now!
