Listening Notes: Pop and Friends, the Ultimate Vol. 1

Recommendations for alternative streaming apps have driven me crazy once again. Now, I’m randomly diving into mainstream artists or those only available on major streaming platforms, since the habit of using wildcard discovery methods has stuck with me ever since I became obsessed with freebies on Bandcamp.

Below are 20 releases within the alternative, indie, and pop spectrum that I eventually picked up from those platforms and Bandcamp.

The 1975 – Being Funny in a Foreign Language (2022)

70/100

"About You" became everyone's favorite, and it was lingering in my mind, which prompted me to give The 1975 a shot through this album.

Musically, it's quite close to Walk the Moon and even features some folk/country elements, but whatever. They are massive, popular, and undeniably catchy. My first impression didn't actually stop at the aforementioned track, but rather at "Part of the Band," "Oh Caroline," and "When We are Together." That said, for pop music fans, go ahead and give it a spin—it’s highly recommended.

Highlight: Part of the Band, Oh Caroline, Looking for Somebody (to Love), When We are Together

5 Seconds of Summer – Everyone's a Star (2025)

65/100

This is one of the pop bands that accompanied my teenage years. Their shift toward a more synthetic sound here isn't all that surprising; it reminds me of how projects as massive as Linkin Park and Paramore pioneered this route with One More Light and After Laughter, which disappointed a portion of their fanbase back then.

Synthwave also plays a part here, which honestly made me chuckle a bit because I’m so used to consuming that stuff on Bandcamp. It makes me think that, ultimately, mainstream artists/bands must adapt by walking down a modern pop path that appears simple yet energetic—at specific moments—purely for engagement and revenue. Yes, every capitalist in every sector only cares about money. You know how it goes.

In the end, I personally find this latest album from 5 Seconds of Summer rather unsatisfying, only appreciating the parts that lean toward indie/pop rock, such as "I'm Scared I'll Never Sleep Again," "Ghost," and "Jawbreaker." Perhaps Gorillaz fans might find some enjoyment in "Not Ok."

Highlight: I'm Scared I'll Never Sleep Again, Ghost, Jawbreaker

54 Ultra – Turnaround/I'm Hooked (2026)

65/100

54 Ultra’s two singles showcase entirely different styles. "Turnaround" leans more toward acoustic country/folk, whereas "I'm Hooked" resides in the realm of indie pop/rock, featuring a surprisingly heavy dose of distorted guitar reminiscent of doom metal from the 01:56-02:10 mark. It’s quite a startling moment.

Highlight: I'm Hooked

Amelie Kalia – While We're Ahead (2026)

75/100

Now this is the format I love: acoustic/country pop/singer-songwriter with female vocals. It feels like early-era Taylor Swift and shares a kinship with Lucy Rose when "Chinese Finger Trap," "No Highway Robbery," and "Alone Again" are spinning. Listening to Amelie Kalia feels like being out in the countryside, unwinding amidst the noise of synthetic, modern urban music.

Highlight: mostly all

Biónica – Biónica (2015)

60/100

Playing alternative rock doesn't mean you can't embrace a specific concept. Take Biónica, for instance, who delivers a sci-fi theme about superheroes saving the Earth instead of the usual tropes of love and everyday life. The music itself is influenced by Latin folk, featuring trumpets, violins, and acoustic guitars, but none of it truly comes alive to my ears.

Highlight: -

Blackbird Blackbird – Halo (2010)

70/100

I find Blackbird Blackbird to be quite reminiscent of Of Monsters and Men and The 1975, with a chill/synthwave influence that also heavily concentrates on instrumental tracks. I don't have a whole lot to say about it, but this album might also suit fans of Tiger Baby or indietronica and folktronica.

Highlight: Halo, Fly, Fade to White

Driven to Ashes – Strange Crossings (2024)

60/100

Driven to Ashes channels an 80s indie pop genre, sounding similar to Zenxith—particularly on "Winter Air." However, the band also highlights noise effects through tracks like "Drift Apart" and "Shimmer," giving it a more emotional, noise-pop edge.

Highlight: -

Drowwn – Luhps (2015)

65/100

Drowwn delivers vocals accompanied by electroacoustic guitar in an alternative fashion. Nothing really pierces the soul except for "Fire Fall with Me," which utilizes tremolo riffs and post-rock style spoken words.

Highlight: Fire Fall with Me

Four Days in May – Citizens & Rivers (2014)

70/100

The guitar distortion from Four Days in May on "The Retreat" pulls them closer to grunge/punk rock, while the rest of the album consists of alternative/indie rock. Unfortunately, I can't quite link them to any major bands because I still find it hard to recall them.

Highlight: Boots, Across the Ocean

Harry Styles – Kiss All the Time. Disco, Occasionally (2026)

70/100

Yet another major artist, Harry Styles. He utilizes techno, electronic, and synth-pop elements to paint a disco landscape, but keeps it on the lighter side—it doesn't sound overly energetic or explosive. "Dance No More" reminds me a bit of Maroon 5, while "Paint by Numbers" stands out as the most conventional track. However, there’s very little here for me to truly appreciate, as I’ve grown far more accustomed to instrumental electronic music due to Bandcamp.

Highlight: Season 2 Weight Loss, Paint by Numbers, Carla's Song

Hello, Broken Arrow – Hello, Broken Arrow (2012)

60/100

Hello, Broken Arrow is clearly not a big name in the indie/folk world, but they were among the first to sing into my ears about 10 years ago with "Mine is a Light." Because of that, I had a bit of a hard time remembering and tracking this band down again.

Much like The Oh Hellos, this project employs dual male and female vocals, but the music fails to evoke any particular atmosphere. Only the sweep of the violin truly manages to pierce through the soul along the way. "Emma, I Know," which functions as a ballad, suffers from the exact same issue.

Highlight: -

Hey! I got an Idea – Let's Talk About Wood (2016)

65/100

Hey! I Got an Idea blends fingerstyle acoustic guitar with electronic drums and programming, making it stand out a bit from the rest of this lineup. There is even a heavy-sounding moment upon entering "Two Ply Relationship." This track feels quite familiar, reminiscent of another song, but I can't put my finger on it. There’s also a touch of hip-hop on "Is This the Alamo."

Highlight: Two Ply Relationship

The Japanese House – In the End It Always Does (2023)

70/100

I didn't expect The Japanese House to be on Bandcamp under the Dirty Hit label. The style is relaxed, but there's a distinct The 1975 vibe on "Touching Yourself," along with a slight jazz flavor on tracks like "Sunshine Baby," and a nod to The Oh Hellos. Generally speaking, it stays firmly on the indie/folk/country and singer-songwriter track. It’s quite similar to Amelie Kalia and feels relevant to Lucy Rose and Courtney Marie Andrews.

Honestly, I was already quite exhausted by the time I listened to this album, so it felt more boring a bit to me.

Highlight: -

Lany – A Beautiful Blur (2023)

70/100

Ah, here we go. Lany made an indie/alternative rock format with hooks neatly placed at the front and back ends. The middle section is stuffed with electronic beat-driven tracks to keep it relevant for pop listeners, such as "Home is Where the Hurt is," "(Saturday Night) 3:22 A.M.," and "Love at First Fight," followed by the closer, "No." Only "Heartbreak Can Wait" and "Home is Where the Hurt is" remain tolerable.

Fans of The 1975 and The Ivy will likely enjoy this.

Highlight: XXL, Out of My League, Alonica

The Oh Hellos – Boreas (2020)

70/100

What is there to discuss about The Oh Hellos this time around? They remain consistent with their folk/country style, and when I tried looking at the lyrics, I couldn't quite wrap my head around them. They seem more philosophical or poetic, featuring Hades and Charon in "Cold," followed by an instance of romance that's a bit hard to digest in "Lapis Lazuli." Ah, it turns out ignoring the lyrics has its benefits. The important thing is that it moves the heart and feels entirely relevant to me—meaning, as long as it sounds good to my ears and soul, that's enough.

Highlight: Boreas, Glowing

Ping Pong Club – Retrospective (2019)

70/100

Before changing their name to Iris Bevy, Indonesian dream/synth/city pop outfit Ping Pong Club dropped their debut. The dreamy energy radiates throughout, yet it still feels modern and enjoyable. Sadly, they seem quite underrated in the local scene—perhaps the use of English lyrics acts as a bit of a barrier too.

Highlight: She's Your Trouble, Venetian Blinds

Porch Kiss – Fort Stevens 2006 (2024)

75/100

Porch Kiss invites me to just lie back on my bed after wading through so many releases, listening to lazy-toned vocals blending with light alternative music—which is more than enough to earn it a bedroom pop label here. There are no distracting noise effects, except for the outro of "Until We Meet (Again)," so everything else is a perfect vessel for adolescent nostalgia.

Highlight: Dream of Sleep, Ice Skating in June, Pet the Dog, Fort Stevens 2006

Pretty Bleak – I'll Still Feel for You (2024)

75/100

Pretty Bleak hails from Australia, delivering a brand of pop rock that feels like a softer version of pop punk mixed with a One Direction aura. No massive names are attached to this, but it seems highly relevant to early 5 Seconds of Summer, Walk the Moon, and Lany.

Highlight: mostly all

Ryan Beatty – Calico (2023)

70/100

This might just be the perfect match for The Japanese House. I assumed Ryan Beatty would lean toward mainstream pop like Harry Styles, but he plays a much simpler style of indie/folk instead. Consequently, listening to both of these artists back-to-back truly feels like listening to a couple taking turns performing. Ah, it’s making me go a bit crazy, and I'll definitely need to revisit them when I'm feeling refreshed.

Highlight: Little Faith

Seafrost – Waves in the Atmosphere (2010)

60/100

Seafrost wraps up the session with alternative rock/shoegaze on their debut album. Unfortunately, I failed to find a vibe that could truly sink into my heart. The only interesting takeaway was noticing the difference in audio output between the AIMP media player and other apps; that signature shoegaze atmospheric layer only became audible when using AIMP. Meanwhile, according to Bandcamp info, fans of Amusement Parks on Fire, Blackstrap, Cave In, Catherine Wheel, or even Oasis might find this relevant. Yeah, "Wonder" feels pretty close to Oasis, I think.

Highlight: Spectrum of Haze