Alyssa Fouts, whose YouTube channel is scraping 25k subscribers, has released her first official single, and it sure is a sweet debut. If you were to combine the sound of Taylor Swift, Sabrina Carpenter, Hayley Kiyoko, and Conan Gray, with a dazzling dash of primary colors, the outcome would probably be Alyssa’s new song “Nineteen.” So we decided to sit down and ask the primary princess about her initial tune.
Alt Col: Just want to start out with a seemingly primordial question: Who are your biggest musical influences? Lyrically, sonically, aesthetically, etc. Do you think listeners will be able to pick up on those inspirations in your new single?
Alyssa Fouts: To be quite honest with you, the artists that influenced this song in particular are not what I genuinely thought they’d be if that makes sense. Like, I feel that a lot of the artists that I usually listen to are more alternative and are branches off of rock music. And there are two reasons why the song kind of just sounds the way it does. First off, I was going through my first ever breakup so what I was listening to was all these female-led, empowering, slightly angry pop songs. Everything from Hailee Steinfeld and Sabrina Carpenter to Little Mix and Taylor Swift. These were all incredibly influential artists for the sound of “Nineteen.” and you can definitely hear their vibes in the track. But also, I think my sound has always been of this “pop princess” type. I’ve always thought I was more of an “edgier” girl, which is slightly cringey but very true. This is the first song I’ve ever written, and initially I thought it sounded the way it did because of all the music I had been listening to at the time. But as I started writing more, all the songs (all very much my own sound) were fitting into that pop realm. I think it’s pretty damn cool, but I think I really did just surprised myself.
Alt Col: Totally understand. Do you think in the future you might move into a more rock-infused sound or possibly incorporate some of that “edginess” into your current pop tone?
Alyssa Fouts: Here’s the thing with “Nineteen.” This song initially was only ever materialized for my own closure. From the beginning, I never really intended on having this be a launchpad for a music career. I wrote this as a poem at first. But then after messing around with it, it turned into a song, and I guess I was subconsciously thinking that if it were to become a full-blown thing then maybe I can get that final ending or good-bye or whatever it was that I felt I needed through that. So I did that. As far as it goes for future music, I would love to release more. One hundred percent. But I think for right now, I’m going to see how time treats me. And of course sound-wise, don’t let my pink hair and black ripped jeans fool you. I love alternative music, but there will always be a romantic idealist trapped in here with a love for Carly Rae Jepsen and tiaras. But who knows? One day, I’ll have evolved and decided to create the most edgy song I’ve ever made.
Alt Col: What was the experience like working on a song for the first time? The recording sessions, working with a producer, refining the lyrics, etc.
Alyssa Fouts: So when I reached out to my producer, the song was already completed. I think I had written the entire thing in about an hour, and when it came to polishing it, we had only changed one or two lines and a few words here and there. Something I’ve always been confident in is my writing. I remember, though, one of the first conversations we had was to make the song more relatable and interpretive for the listener. The song itself is very specific to me because everything I wrote actually happened, from the rain during the breakup to the guitar on the first date and his knife collection. Changing it around was something I was very against. Again, this song was for my healing. I was really lucky to have the people I had during this process because they understood and respected my exact vision. My friend Ann helped me record it to send over to my producer Jack. He lives in LA and I live in San Francisco so that was another struggle. We recorded it at the studio in our school, and it was really hard for me at first. It was a month after my birthday, and I had been pretty much over 
the whole situation for a while then. Digging up those emotions so I could sing it properly was really rough. But I did it! Then we sent it over to Jack, and nine months later, the world now has it. Literally my baby!
Alt Col: Did you record any live instrumentation on the track?
Alyssa Fouts: Oh, I tried! But you know, I’m not the best at guitar so that quickly fell through. My king Jack LaFrantz created the instrumental for it as well as produced it. He really is crazy talented.
Alt Col: So do you enjoy being an independent artist or would you be open to accepting a deal with a record label if you want to continue with a music career?
Alyssa Fouts: I’m not really sure yet. This is my first release ever so I’m not quite sure what to expect just yet. But if any labels do reach out, I am definitely down to chat! I think right now, I’m just really playing everything by ear.
Alt Col: Yeah, totally understand. So you’re a very creative individual. You study film and do YouTube and whatnot; what are your future plans in the area of film?
Alyssa Fouts: My major is screenwriting, so ideally I would love to end up in that field, but I’m still figuring my way around! I’ve got a little bit more time before I fully commit, and at the moment, I’m really just enjoying trying everything out. My friends and I shot the “Nineteen.” music video over the weekend, and it just reminded me how much I love the actual filming part of projects. At some point, I wanna do everything!
Alt Col: Definitely. I’m curious to know though: Did you have to scripted-ly record the phone call snippets in the song or were those from the actual phone call?
Alyssa Fouts: They were recorded by my friend Matt and I! In actuality, this kid was kind enough to not dump me over the phone but rather outside my house. Best gift ever!
Alt Col: Was writing “Nineteen.” a good way to process those emotions and work through them?
Alyssa Fouts: Writing it for sure! I’ve always been a person who felt she needed to be strong and couldn’t show her emotions. I was so in denial that I was genuinely sad about the whole situation because I didn’t want to look weak. I mean, breakups are a loss at the end of the day. Putting down the words helped me understand what I was feeling and validate it. I was so used to suppressing how I felt, I forgot what it was like to actually experience and sit in your sadness. Emotions are so powerful, and something I definitely learned from this experience is that even a broken heart can become something really cool.
You can stream/download “Nineteen.” online and check out the music video on YouTube! Give Alyssa a follow on Twitter and Instagram, and subscribe to her YouTube channel to keep up with her content.
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Before Imagine Dragons signed to a record label, they self-released a few EPs with some songs that never quite made it on their debut album. 
I’m just going to come out and say it: I genuinely believe 
Origins was released practically out of nowhere, just a little over a year after Evolve. The band pushed the record by labeling it a “sister album” to Evolve, which makes sense considering their musical similarities, and I can tell that Imagine Dragons probably wanted to milk their 15 minutes of success a little longer. While Origins was indeed a step up from Evolve, it was still relatively underwhelming, but 
Look, I know what you’re thinking. “This song isn’t underrated because it was released as a promotional single for Night Visions!!” Okay, yeah, but here’s my reasoning for including it on this list. 
Like “The River,” 
Greyson Chance recrudesces with his real debut album, portraits. After gaining popularity back in 2010 from YouTube and Ellen, Greyson was shoved into the industry spotlight at a young age and released his original debut album in 2011. However, since Greyson has grown over the years, he’s dubbing portraits as his genuine artist debut. And genuine it is indeed. Greyson’s lyrical writing is emotive and captivating—he wears his heart on his sleeve. But while the subject matter may be pensive and thoughtful, he doesn’t hold back the fun you would expect from a pop record. From the bouncy single “shut up” to the booming percussion of “west texas,” from the exuberant vocal harmonies of “white roses” to the spirited synths of “lakeshore,” portraits is a refreshing listen from start to finish, coupling heartfelt emotion with upbeat musicality and charismatic vocal delivery. You don’t want to miss this outstanding LP. While you may not consider this alternative, I couldn’t keep it off this list considering I haven’t been able to keep it off my mind and stereo.
Trust me, I’m as surprised as you are. Back in 2016, I named Bastille’s Wild World one of the most overrated (and worst) albums of the year. Since gaining mainstream success back in 2013 with their debut Bad Blood, Bastille had yet to impress me in any way. There weren’t many songs on that debut that left me in awe, and their sophomore effort didn’t fulfill me either. But with their latest release Doom Days, I don’t hate it. In fact, I think it’s pretty darn good. I’m not sure if this is because I’m shocked that Bastille is actually winning me over for once or because it’s genuinely decent, but either way, Doom Days is a welcomed improvement in their discography. Lead singer Dan Smith has greatly refined his vocals, although there are a handful of moments on this record where the vocals feel a bit overproduced. The production overall, however, is certainly superior to the album’s predecessors, and the instrumentation sounds fresh and lively. The lyrical content displays recurring motifs of late night adventures and sober contemplation, and the tunes themselves are relatively catchy. The band described Doom Days as a concept record, but I don’t think I can give them much credit in that aspect. Nonetheless, Doom Days gets the stamp of approval from yours truly, and that really says something considering my negative history with Bastille.
Maggie Rogers was bubbling under the surface in the indie pop scene for quite some time before releasing her debut LP Heard It In a Past Life. After the success of her 2017 extended play Now That the Light Is Fading, followers were on the edge of their seats for a full-length record. Finally, in 2019, Heard It In a Past Life certainly delivered without disappointment. This album is characterized by buoyant indie pop, dripping with syrupy sweet melodies and intellectual lyricism. It’s a dynamic listen, an array of upbeat pop anthems as well as more serious moments making up the tracklisting. Heard It In a Past Life is not a perfect album (some strange production decisions here and there), but it’s definitely an enjoyable spin.
Boy, I had been waiting for this album for a hot minute! Ever since MILKK released their single “Less Than 3” in 2018, I was anticipating more material from the indie pop trio. Their EPs Sad Girls and If You’re Reading This, I Love You cemented MILKK’s sound and left our mouths watering for a full album. HEADRUSH provided us with introspective indie pop, combining fun melodies with meaningful lyrics that explore the band’s intrapersonal struggles with anxiety and other mental health issues. HEADRUSH doesn’t hold back the earnest romantic balladry, showing a loving soft side and vulnerability. Musically, the LP presents catchy pop tunes defined by glistening synths and sleek guitar work, as well as slower pieces in contrast. MILKK’s sound is reminiscent of the California dazed vibe of bands like LANY or joan, paired with a darker, moodier image. All in all, HEADRUSH is bound to be on repeat for a long time.
To be honest, Emarosa was never really a band I paid much attention to. Their sound didn’t appeal to me much and the songs failed to stick with me. But man, Peach Club turns all that on its head. Emarosa trades in their post-hardcore-tinged rock style for a more poppy direction. While the band holds onto their guitars and distortion, it’s certainly a bit more “cleaned up;” Peach Club is a sweet, delectable bite of ’80s-influenced rock with a coat of polish and neon lights. Really, when I saw that Emarosa announced a new record, I wasn’t all that intrigued. Until I hit play on the first few singles. Tunes like “Givin’ Up” and “Cautious” blew me away upon first listen, and I found myself being genuinely excited for the new material. Once the full album released, it certainly met my expectations. If you’re skeptical like I was or uninterested by Emarosa’s past catalog, I truly recommend giving Peach Club a shot. You might just fall in love with it.
Local Natives is one of my top three favorite bands of all time, so of course I might be a bit biased here. The California band has yet to disappoint me; all of their albums have a special spot on my shelf and I love each one so, so dearly. Their previous record Sunlit Youth, released in 2016, displayed a more experimental approach to their indie rock orientation by introducing synths and programmed percussion, as well as some politically-charged lyricism. For some fans, this style was a turn-off, but for me, I enjoyed the hell out of that LP. So how does Violet Street shape up? Local Natives dial their tone back to a more organic sound, fairly reminiscent of their debut album Gorilla Manor. Piano melodies, lively drumming, and twangy guitars constitute Violet Street, strengthening the authenticity of the album’s libretto. Heartstring-tugging subjects and impassioned vocal performances (those harmonies!) show no mercy for a weathered soul—the band never fails to deliver a captivating, affective listening experience. Violet Street is without a doubt another home run in Local Natives’ discography.
The Maine offer up another helping of emo-tinged pop rock teeming with variety and ardent observation. You Are OK assures the listener that it’s okay to be human, it’s okay to be imperfect, all wrapped up in an exciting pop rock listen.
After transitioning labels over to Epitaph Records, indie rockers Bad Suns don an edgier style on their third full-length record Mystic Truth. Raucous guitars and animated percussion make for an effervescent spin.
Following the sleeper hit success of her 2016 single “No Roots” and the 2018 EP of the same title, Alice Merton finally unleashes her debut long-player titled Mint. Fresh, cool, and smooth, Mint lives up to its name with sleek indie rock with a pop appeal.
It’s fucking Hozier, for crying out loud. We’ve been waiting on this legend to drop another album for nearly five years. Soulful vocal delivery and vibrant, organic instrumentation expertly define Wasteland, Baby!
This quasi-supergroup’s debut record delivers irrepressible energy, angst, and guts through hard-hitting instrumentals and politically-charged lyricism. This hip-hop-meets-punk amalgamation is exactly the medium for their message.
With some contribution from The 1975’s Matty Healy, Good at Falling by The Japanese House fulfills the expectations that fans held for this long-awaited debut. The sleek indie pop and entrancing vocal performances will have you falling in love with this LP.
Ex-R5 members and brothers Rocky Lynch and Ross Lynch formed The Driver Era, an alternative pop rock project that certainly departs from their previous R5 style. X, their debut record, cements their rollicking rougher sound coupled with softer, more serious moments.