Genre: Pop

Friko, a trio that’s cemented itself as a stalwart in the Chicago music scene, is frontman Niko Kapetan, and drummer Bailey Minzenberger. Their most recent release, “Crimson To Chrome,” is an anthemic offering, Kapetan’s vocals incendiary. It received glowing praise and attention from Pitchfork, Brooklyn Vegan, and Consequence, who wrote “Friko toggle between loud and quiet, thoughtful and self-deprecating, while never expressing anything less than the unbridled joy of noise.” FLOOD wrote the Chicago-based power-pop group is “ certain to stand out among the hundreds of acts gracing the various SXSW stages this year.” And that they did. The band took SXSW 2023 by storm, playing packed showcases over several days that made their Austin-debut a must-see occasion. Bolstered by the unwavering support from Chicago’s music scene, the buzz around new music, and the pure excitement witnessed at SXSW, the interest from labels is voracious and ever-increasing.

Over the band’s time together, it has become clear they are comfortable embracing multiple musical extremes at once. Their debut self-released 2022 EP, Whenever, Forever, weaves “together heart-on-sleeve folk, tense, smoldering post punk, and soaring, melodramatic chamber pop rooted in 2000s indie” (Chicago Reader). Lyrically, Kapetan explores the possibility and risks of a life given over to music, interrogating what a life well-lived means to him. The duality rings out in the compositions, evoking rock and folk icons such as Leonard Cohen and Nick Drake. The EP found collective support amongst the local music community, championed by their peers Horsegirl, Lifeguard, Free Range, and more.

Friko’s music is complex and dynamic, flickering between explosive rock, chamber pop, and serene sonics. It becomes even more pronounced in their live performances, where a crowd frenzied by wailing guitars finds itself minutes later collectively holding its breath, enamored by hypnotic strings and Kapetan’s emotive vocals. As the band plays out sweeping melodies, held up by thrashing guitar and punchy beats, it feels as if Kapetan sings to you. Crooning about stories you know, memories you had but have somehow forgotten.

A lot of musical acts try to build on the success of their early music. But for indie pop-rock band Yam Haus, each time they release new music is a new step in their musical evolution — particularly this time around.

It’s been a half-decade, a lot of touring, three EPs, more than a dozen singles, a lost band member, an appearance on American Song Contest and a global pandemic since the Minneapolis-based trio last put forth a project. In other words, the Yam Haus preparing to release new music in 2023 is nothing like the kids who took the Midwest by storm a handful of years ago.

“I feel like so much has happened since the first songs and this doesn’t even feel like it’s our follow up,” says guitarist Zach Beinlich. “I feel like a new band. We have a totally different way that we’re approaching how we create music.”

“I genuinely feel less concerned about whether or not the next album is going to be ‘successful’ at this point,” adds singer and guitarist Lars Pruitt. “All I’m really concerned about is doing right by us and making something that we feel motivated to play live and love every inch of it for years to come. I’m just trying to do things in a way that’s super honest to us and our tastes — and hopefully the fans come along with us.”

As one of the newest additions to Big Loud Rock’s roster, Yam Haus’ search for authenticity has found the perfect home. Pruitt, Beinlich and drummer Jake Felstow know they could’ve gone down a more mainstream pop-friendly rabbit hole for their new releases if they’d listened to the industry suits and producers around them after their sold-out headlining shows before the pandemic. Instead, they spent their time taking their music in a new direction.

The result is a catchy blend of indie rock that still serves up the unforgettable hooks Yam Haus became known for, while also bringing a new level of songwriting maturity and musical complexity to their tracks. The band is growing up alongside the Gen Z audience that dove into their old music, while also allowing their personality and humor to shine a bit more and earn an expanded audience with the new stuff.

“We’re really excited about the new music, because it feels like it’s the first time in a long time that we’re creating it as a unified front,” Felstow says. “That’s exciting for us, and hopefully it translates to the people listening to the music. We really put our best foot forward, and we’re loving it.”

“Even if it fails, at least it fails on our terms,” Pruitt adds. “The worst-case scenario is to make compromises, do things based on what other people think, and still not have it go very well. That’s not to say that’s what we’ve done up to this point, but we just realized we need to take an inventory of what we wanted. We made sure we were doing it for the right reasons and not just what we were being told to do.”

“We’re making and releasing whatever we’re feeling at that moment,” Beinlich concludes. “I think we’ve done a good job with that so far, and it’s given us a couple of songs that are very different from what we might’ve done in the past. They may not feel like they fit with everything else that we’re doing — like one song has a trumpet in it — but it always just feels like what we need to get out at that point. We’re not trying to fit something in where it doesn’t belong, but if it feels right and we like it, we put it out.”

So far, that policy has been working out for Yam Haus and pleasing fans throughout the twists and turns of their musical journey. Ahead of the new music’s launch, the band started performing tracks that haven’t even officially been released at recent shows. And much to their surprise, their audience started singing the lyrics back to them after learning the songs from social media and single releases.

But despite the sustained success on both sides of the pandemic, Yam Haus feels like they’re just getting started. At the very least, Pruitt’s committed to the journey in ways not easily changed.

“I got the band tattooed on my ass, so I’m here for the long game.”

Queer & non-binary trio, Kat Rhapsody, Benjamin Rose, and Alex Nelson (all they/them), are best known for making a unique blend of pop and haunting indie rock they affectionately refer to as “sad lesbian music.” Or to put it in technical terms, a gender- and genre-defiant mix of queer emo jams & sapphic bops.

Their most popular track, a tongue-in-cheek synth-fueled anthem, “Sorry That I’m Like This” has over 70K streams, and the band has reached over 2.1k followers and 2,600 monthly listeners around release time. They have played over 250 shows since 2018 and are the winners of 4 Madison Area Music Association Awards (a regional association that supports music literacy for students), including Best New Artist in 2020.

Their newest single arrived in June 2023 after a long period of reflection and growth. Elder sibling of “Sorry That I’m Like This,” “On My Way Back” is an indie-pop dance anthem about moving through trauma and shame toward healing. Originally an acoustic folk song, On My Way Back blends synths, addictive guitar riffs, and the band’s signature soaring harmonies into an anthemic reminder that there’s always a way home to yourself.

Landon Conrath

On the back of his debut album, Nothing Matters Anyway, and after nearly a year of touring with artists like Yam Haus, Windser, and Ber, Minneapolis songwriter, producer, and multi-instrumentalist Landon Conrath is gearing up to release his EP I’m Alive… So It’s Fine. Unsurprisingly, fans are already singing along to recent singles like “Broken” word for word. As the song title suggests, the EP was born out of an explosive writing period during a tumultuous time for Landon. “The entire project came from a singular, but painful, experience,” says Landon. And while “it wasn’t cool to go through” the power that it gives to the work is evident in every song.

What you will recognize in I’m Alive… So It’s Fine is Landon’s distinct sound of hook-based indie-pop. His smooth vocals, deeply personal lyrics, signature melodies, and simple but ear-sticking beats have defined his style and drawn in listeners by the millions. But like all happy accidents that gleam their iconic meaning in retrospect, it wasn’t a conscious choice. “Your sound should be what’s available to you,” says Landon, “Initially, we didn’t have enough mics to record drums, so we used samples. It was a crutch at first, and now it defines my sound.”

Since those early sessions, Landon’s production skills have evolved with intricate layers and experimental vocal effects. “November” juxtaposes glitchy electronic trills with earthy acoustics and a bouncing bass riff. Lyrically, Landon unpacks an uncertain relationship and feelings of regret – a theme that runs through the project. “Space Invader,” a song that truly sounds otherworldly, was built around an acoustic guitar melody that blossomed into a playful collage of textures. I’m Alive… So It’s Fine boasts a diverse musical landscape for Landon, highlighting his unique playfulness, and fresh approach to songwriting.

Mixed in is a defined sense of physicality. Most of the project was recorded in an echoing room. “I wanted the feeling of the space between our instruments to be present on the track,” says Landon. It’s a sentiment that carries through in the lyrics. In “Funeral Home,” friend and featured artist Ber’s verse is an added layer of storytelling to an already emotive track. Location plays a huge role in many of Landon’s songs. He wants elements of the real world to exist in his music. “I mention a lot of chain restaurants and grocery stores in my music because it’s a physical place people can relate to.”

Speaking of physical places, live music has always been an integral part of Landon’s story. At his shows, Landon doesn’t spend much time in the green room, rather opting for the merch table to get to know his fans. “We don’t get a lot of passive fans that come to the show. They know every single word, and everyone has a personal story connected to the music.”

Landon’s fans connect with his deeply personal lyrics and emotional struggles. Songs like “Deep End” dive into his issues of anxiety and depression. Landon doesn’t shy away from being honest about his experience. “Falling Pieces,” the longest song on the project, finds Landon at his most epic with a powerful building drum sequence as a line calls out from the crescendo: “I’m not alright.”

This kind of honesty points to the core of his relationship with his fans. While many artists, understandably hunger for viral moments and streaming playlists, Landon is concerned about building a community. It’s no wonder, then, that his goal of being an artist who can move thousands of tickets wherever he goes is quickly becoming a reality. That’s not to say that he isn’t also pulling numbers. Landon’s first run of Nothing Matters Anyway vinyl sold out in one hour. He has over 200k views on YouTube, his single “2AM” is now past 6 million streams on Spotify, and he’s got over 3 million monthly streams. He’s also received critical acclaim from Ones to Watch, The Current, MPLS Magazine, MN Daily, Variance Magazine, and many more.

In the midst of all this momentum, Landon is already back to writing for his next project. But before we get ahead of ourselves…. I’m Alive… So It’s Fine releases September 29.

BEL

Rarely does modern music earn the badge timeless, but BEL cuts through the noise. Hailing from the small town of Clovis, California, Isabel Whelan crafts nostalgic songs with honesty and attention to detail, occupying the intersection of indie, pop, and folk, while taking cues from the likes of Stevie Nicks, Joni Mitchell, and Mazzy Star.

After the 2022 release of her sophomore EP, Jet Lag, BEL landed on a handful of end-of-year “Artists to Watch” lists, and is continuing the momentum with new music in 2023. The first three singles, “Are You Okay?,” “Woman on Fire,” and “Cold Brew,” have received ample support from Sirius XM, Pandora, Spotify, Apple, and several publications. With a 3rd EP underway and her first festival announcement, 2023 is shaping up to be an exciting year of releases and live performances for BEL.

It’s a foreboding time to make pop music. But like a sunbeam peering through a haze of wildfire smoke, Early Eyes have somehow persevered through dashed dreams, fractured relationships, historic social justice uprisings in their own hometown, and a society tearing apart at the seams to make an album that is both responsive to the chaos and wearily optimistic.

“It almost feels like Look Alive! is a direct response to the pandemic,” bandleader Jake Berglove reflects. “It was like, oh, my goodness, all of our capitalist anxieties just came true! We took all of that anxiety and angry energy and put it into making a really fucked up album.”

“The album was not just an expression of all of our frustrations, but also an escape from it,” adds guitarist Joe Villano. “And I feel like the process of making it really carried us through the year.”

Look Alive! vibrates with angst, punctuated by computerized glitches and disintegrating threads of abandoned melodies that echo in the distance before roaring back to life. A track like “Chemicals” will begin with Early Eyes’ signature buoyant and catchy pop-rock, but as the song progresses it grows more ominous before shattering apart in an earthquake of rattling, subterranean bass.

On a warm summer evening in the year of our Lord 2015, a young college drop out is in his backyard, guitar in hands scribbling lazily on a loose sheet of paper. He taps his pen on his chin intensely, contemplating the first and only line that reads: “I’m going down”. he stares down at his pathetic excuse for an opening line and calls it a night. “eh, I’ll try again tomorrow” he says. This is his mantra. He didn’t know it then, but that pathetic little line would be the birthplace of a little band called Mustard Service and that pathetic little line would be the opening line of a little album called Zest Pop.
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For the next two years Marco Rivero and Armando Baeza (producer and former drummer) wrote and recorded the debut album “Zest Pop”, bringing in their friends Gabriel Marinuchi (guitar), Augusti Di Catarina (bass, backing vocals), and Leo Cattani (keys) to play the songs live as a full band. they played a few push-moshing, beer-spilling, gear-breaking, cop-calling, arrested-getting shows throughout Miami-Dade County, managing to amass a small yet passionate fanbase in their home town. In those years, GarageBand™ transitioned into ProTools™, recordings evolved into mastered tracks, and small house shows turned into packed venues.
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Their Debut album was released in June of 2017, relying solely on live shows and streaming platform algorithms for promotion and exposure. The algorithm gods took pity on these poor fools and granted them a world-wide audience over the span of the next three years, leading into the release of their sophomore album titled “Ces’t La Vie” in March of 2020