This week's LITM Rock Picks Present New & Alternative Spheres with artists like Hyporadar, Lenny Jennings, and Matt DeAngelis

This week's LITM Rock Picks Present New & Alternative Spheres with artists like Hyporadar, Lenny Jennings, and Matt DeAngelis.

Hyporadar - This Ain’t The Day I Die 

Hyporadar is the passion project of Shane Duquette, an artist with a vision like no other. He makes the alternative realm as we know it even more alternative. ‘This Ain’t The Day I Die’ explores a razor sharp, minimal flow that details a fuzzy and disoriented headspace. The beats are raw and the grooves are mellow but you can’t ignore the presence that they bring. And the vocals, uninflected, and deliberately dry, forge a very detached landscape. The hooks keep on coming, sliding, funky, bluesy and underground smooth, nicely rounding up a retro vibe that you can just drift into. Its repetitive nature, nicely glazed with hypnotic calls. 

Lenny Jennings - Phases 

Lenny Jennings brings an atmospheric soundscape with latest release, ‘Phases’. With slow burning riffs, deep grooves, and molten guitar melodies, he forges heartache, sensuality, and love. There are alternative elements like hip-hop rhythms, emo, and pop that turn up the rock. We see modern electronica manifest as cerebral synth patterns, forming waves and ripples in the transition. And all of this, so vivid and varied, is contextually, stylistically tied up with the fluid vocal dynamics. We see deep rock core driving into the song, fuzzy and intense, but soft and softening in a way that songs about love often get. 

Matt DeAngelis - For Better 

Matt DeAngelis has put out his latest single, ‘For Better’. The singer-songwriter and acoustic rock artist has an incredible musical pulse. The kind that carries into you and keeps vibrating, stays alive for many days to come. This track is built with free flowing riffs, luminous grooves, grand guitar showcases, and a lush vocal line. There is a classic rock influence that takes you back to artists like Queen. But there’s also a new age rock and singer-songwriter flow that takes over and nicely balances it all out. That intimacy of the latter with the culture of the former makes for quite the listening experience. 

Teika & The Raw Beat - Bones n Stones 

Teika & The Raw Beat is an explorative banner of singer-songwriter, Teika. She expands across the spectrum of folk rock and blues, crafting it with raw acoustics and bare beats, all of it lifting suggestively into her vocals. Her latest release is the ‘Bones n Stones’ album, a collection that discovers moments, claims memories, and describes a life lived. The title track is made like a single shot movie, a slow-moving frame that dotes on details, feelings, emotions, and everything in between. Piano melodies, string work elevate the energy of the acoustics, forging them with dimensions as we flow into the climax. 

Block - The Ring Slipped Off 

Block is a singer-songwriter and alt folk artist who strives to bring new interpretation to the genre. The artist describes himself and his style as anti-folk, as he moves away from orthodox and traditional expression. In his song, ‘The Ring Slipped Off’, he leans into his lofi songwriting style, expansive textures, and influence of indie rock. The song forms in phases. First comes the soft, trickling, nostalgic acoustic folk. Plush melodic moments appear like mirages throughout the song. It is raw and rustic. And flowing into the later parts, we see a rush of indie rock, illuminating the horizon like a rising sun. That gleam and luminescence is intoxicating, so refreshing and leaves you wanting more. 

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INTERVIEW: RUBBISH PARTY - FLAT BY THE LAKE

Recorded in Alfred Lavender's DIY home studio in Warwickshire, the song is a reflection of late nights, first flats, and the sort of nostalgia that hangs around long after the moment's gone.

In preparation for their debut tour and the upcoming release of new EP Love and Decay, we spoke with the band about hiraeth, disorderly live performances, cross-cultural tension, and the protracted, costly myth of the bedroom pop fantasy.

1. Hello, Rubbish party! Could you walk us through the creative process for this song?
   J. Edwin Galloway with Rubbish Party here, As a band we've recorded dozens of tracks since 2022. Something changed this year where it felt like we had to get our stuff out there or die in obscurity. We started by releasing our roughest tracks on Culinary Vendetta. We weren't expecting such a dramatic response to the material. We garnered 10k streams in our first week. However, the tracks were so rough and full of cursing we couldn't get anyone serious to put their support behind them. We then made a conscious effort to polish a handful of songs ( now part of our ep Love and Decay) to perfection, and we enlisted the help of renowned DJ Crimson Creep to do it. His keen ear for production was vital in creating the dare I say "poppy" vibe to all our new tracks including "Flat by the Lake."

2. Flat By The Lake feels like a memory suspended in sound- what was the first image or moment that sparked the creation of this track?
I stood on the Atlantic coast watching the waves crash against the rocks and it all sort of hit me. A nostalgic tear came to my eye. I just wanted to bottle that up and something in that memory told me: 1980s Manchester. I ran to my band mates and we went right into the studio with that in mind. We used Evans lyrics he has written about his first flat because it fit the nostalgic theme

3. How does the songwriting dynamic work between you all - do lyrics lead the way, or does the music pull them out?
We all write some of the songs. But primarily Evan sends in the lyrics from America and the rest of the band draws sort of a composite sketch around those lyrics. The music is then relentlessly perfected in a process much akin to pulling teeth.

4. How are you hoping that the audience is going to perceive this song?
I strongly believe that art is subjective and I sincerely hope that everyone interprets the song in their own special way. Obviously this song is about nostalgia for a first flat. I think everyone has a time and place like that which they can drift back to in their minds as they listen.

5. Recording in Alfred’s home studio must create a special atmosphere - how did that intimacy shape the final sound of the track?
Being sequestered in Alfred's secluded home offers the perfect forum for the sort of screaming required to record a work of art. There's always disagreements somewhere. For instance our drummer George is a metal head. Every now and then we catch him trying to sneak double bass into a track and we toss him out of the studio. Edwin seems to only play punk music. On the bass he prefers to pluck at one string. We take the piss out of him for that. It's all proper fun most of the time but there comes a moment where everyone has to buckle down. We're grateful to have these experiences away from the public eye. Though our process probably frightened Crimson Creep during the first session. Alfred's place is very cozy. We can have tea in between recording sessions even play a little skyrim to clear our heads. This safe environment contributes greatly to the cohesion of the final product.

6. How does each of your musical personalities show up in the final arrangement of the song?
It doesn't actually and that's what's beautiful about it. We've killed our egos through extensive psychedelic treatment. Being former art majors, we were constantly around stuffy people that believed the road to a song was paved with excessive complexity. Many of us were in bands before rubbish party. All those bands fell apart because of the insistence that music had to go in a particular direction. That sort of ego driven thinking is unproductive. At the end of the day writing a hook is simple. We're not trading stock options here. Just play what sounds good and you're there. You have a song.

7. What’s one moment during the recording of this track that none of you will forget?
From the first second of the track to about 2:26, we spend the entire time building to a sort of crescendo. George taps the drums three times, the bass line slides in seamlessly, then we add the keyboard elements. Then we deconstruct the entire thing. That's where the magic was. We get to 2:26 and it's just bass and kick drum with Clutterbucks vocals. Then at 2:41 that guitar kicks back in faintly. That's where we all stopped and looked at one another. Fairly simple stuff if I recall Fmajor to G major something like that. But the beauty of that is mental. Building up that track just to break it down and rebuild it. That was where we knew we had something and yes we all cried just a little.

8. Do you see the song as a catharsis? Or more of a tribute to a past that shaped you, mess and all?
I draw a key distinction between Rockstars and musicians and I strongly feel that everyone in Rubbish Party is a Rockstar. What does that mean? In simple terms we're not role models we're dynamic human beings with messy lived experiences. We don't have our sobriety and we're proud of that. We were recently kicked out of an interview in France for being too extra. There's no guarantee that we show up anywhere in a functional state. Rubbish Party is a mess and that's why the art is good. A lot of the pop stars in our age are products of nepotism. "Daddy works for Sony so i can make music now." We're broke, we're raw, and we're unfiltered. This song is a representation of that. We want to bring Rock back to it's working class roots. It's felt corporate since the death of Cobain.

9. If each of you had to describe Flat By The Lake as a physical object, what would it be?
It's a canoe.

10. “Love and Decay” is such an evocative title - how do you personally interpret that phrase?
There's love which I think one can feel when they listen to the opening track "Hear ye." It's a desperate plea. "Hear me, revere me." Followed by the decay of this love in a way that is initially shocking. "Why do you fear me?" We all ask as we all belt into the microphone at once. The second track "shimmy and shake" is when a lover cheats. By "flat by the lake" the relationship is totally over and we're looking back at the best parts of said relationship. And so this 19 minute project is meant to tell the story if a relationship from it's initial love to it's final decay. Hence why I feel it is the perfect title for this project.

LITM Rock Picks Tunes That Are Just Perfect For You Featuring M. Spano, Camryn Quinlan, Vanderwolf and more!

LITM Rock Picks Tunes Brought to You By M. Spano, Camryn Quinlan, Vanderwolf, Milk Buttons and Sehore

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M. Spano - Long Time Comin’

With the first strum, M. Spano's Long Time Comin' draws you into a world of nostalgia, love, and long-awaited realization. With warm guitar melodies and heartbeat drumbeats, the song is like golden-hour light streaming through car windows—hopeful, exciting, and deeply personal. Spano's voice is silk-smooth, with quiet confidence, as though someone finally embracing the love they've always dreamed of.

The chorus erupts with sizzling guitars and heart-thumping rhythm, and the lyrics express the sense of hesitant uncertainty giving way to certainty. And just as you'd think things can't get any more thrilling, Spano breaks into a soaring guitar solo that transports the song to anthemic heights.

By the end, Long Time Comin' leaves you breathless, wrapped up in the glow of a long-awaited romance. Spano blends nostalgia and new energy with ease, and you can be certain he's resurrecting early 2000s love.

2. Camryn Quinlan – ex box

Camryn Quinlan’s ex box transforms a simple breakup relic into a powerful pop anthem. With sleek electronic beats and warm organic instrumentation, the song feels cinematic, like a late-night reflection with old love letters scattered across the bed. Quinlan’s honey-smooth vocals make the heartbreak feel deeply personal yet universally relatable.

Directed by Baldvin Hlynsson, ex box was penned as a freshman by Quinlan, who drew inspiration from the nostalgic pieces of a former love. Years later, the song now bears the burden of time, resonating with the bitter sweet pain of release. "Keeping those physical memories almost kept the person in my life," she says—a feeling that rings true for anyone who's ever clung to an ex box of their own.

With inspirations such as Taylor Swift and Kacey Musgraves, Quinlan writes a song that's painfully authentic but irresistibly catchy. It's the ideal soundtrack for that final trip down memory lane.

3. Vanderwolf – A Time To Die

Vanderwolf's A Time To Die is a hazy, ethereal song that converts existential questions into musical verse. Spurred on by an unsettled plane ride to Amsterdam, the tune glides across sparkling tones, soft brass, and an unnerving melody incorporating pop, R&B, and psychedelic rock.

Lyrically, Vanderwolf conveys the fear of death, as he sings, "Can it make much sense / Tossed in turbulence / With the ones you love so far behind?" His ethereal vocals float on top of a dreamy soundscape, presenting introspection as well as refuge. The production, courtesy of Chris Cordoba and Sam Sallon, imbues the tune with depth and texture, rendering the song to feel like an instant frozen in time.

With a career that has run the gamut from New York to London to L.A., Vanderwolf still stretches musical boundaries. A Time To Die is a hypnotic, introspective track-one that plays over and over again in your head long after the last note sounds.

4. Milk Buttons – Love and War

Milk Buttons' Love and War is stunningly complex mixing of jazz, indie, Americana, and psychedelic rock. It begins with a hypnotic contrast—spattered drums and peaceful, Eastern-inflected piano melodies—before slowly building in layers of harmonies, strings, and textural instrumentation to create a lush sound world.

In spite of the complexity, each piece of music has a place, interweaving effortlessly into the canvas of the song. There's no jockeying for room; rather, the music ebbs and grows, sounding closer to a precision-crafted composition than a live jam session.

With influences ranging from new wave to alt-folk, Love and War is impossible to categorize but flourishes in its individuality. Milk Buttons creates a track that doesn't beg for attention but repays those who listen intently. A hypnotic, immersive experience, this is music that refuses to be pigeonholed—giving something new with each repeat listen.

5. Sehore – Safari

Spanish alternative rock project Sehore makes a strong statement with Safari, an experimental song that marries outside composition with socially profound commentary. Constructed on the seldom-employed whole-tone scale, the song is atmospherically eerie and otherworldly yet somehow still radio-friendly.

Lyrically, Safari addresses aporophobia—the aversion or fear of poverty—challenging listeners to consider societal prejudices. As part of Sehore's debut album Ladencia, the song emphasizes their trademark blend of kitschy visuals and raw, natural textures. Recorded at Paco Loco Studio and mastered by Mario G. Alberni, Safari features a precise production that balances complexity with emotional impact.

Sehore's distinctive musicianship isn't going unnoticed—the project received a Silver Medal at the Global Music Awards for Pesadilla, showing their forward-thinking sound is getting picked up. With Safari, Sehore keeps pushing what alternative rock sounds like, creating music that's both cerebral and sonically bold.

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