We love finding new music at The 405. It's pretty much the main thing that gets us out of bed in the morning (that and breakfast). However, sometimes it's a bit of a slog to trawl through the Internet's vast offerings – if only there was an easier way. That's where Last.fm comes in. They've got some brilliant, intuitive Hype Charts, allowing you to search by genre or region (or both) for the sounds making waves at any given moment. Here's some of the treasures we found from those charts. This week our our trend-hunt, we we scrutinised indie-pop in the UK.

Josef Salvat

Australian-born, London-based Josef Salvat caused quite the stir last year with his elaborate strain of pop glitter: it's dramatic, titanic and rife with thuddery electrics. Drawing comparisons to countryman Gotye and resident drama duchess Lana Del Rey (neither particularly apt, but hey-ho) no doubt helped solidify his shimmering rise. 'Hustler' is his standout offering to date – released back in June 2013, it combines first album Hurts, cutting-edge noir&B cobwebs and a sincere pop mentality that's endeared the likes of James Blake and Douglas Dare to us. Equal parts grandiose swagger and abyssal darkness, it's a wonder we didn't hear more of Salvat on its initial release.


Famously founded in a queue at SXSW, the Scattered Trees alumni have gravitated towards all-too-fleeting moments of pure pop joy since forming ON AN ON. The Chicago/Minneapolis hybrid summons the ethereal essence of shoegaze for 'Ghosts', a dreamy-grunge cut dripping in honeyed hooks. Though it's wonderfully hypnagogic, there's still a brash rawness to their music, in the distorted riffs, ramshackle percussion and feral vocals that sound like children raised by wolves somewhere in the Arctic Circle.


Championing Brighton's shores, IYES (AKA Josh Christopher & Melis Soyaslanova) unfurl a glorious kind of electronic indie-pop in the sparse smatterings of sound that are available. Most recently, they dropped an overhaul of Beyoncé's seminal classic 'Crazy In Love'. Surgically removed is the funktastic, hyperactive oomph, and instead IYES have implanted a smooth, delirious R&B charm. Replete with off-kilter clicks, pitch-shifted harmonies and gun-cock samples, it's a distant cousin six-times removed from Queen Bey's original.

Gin Wigmore

First off: what a bloody fantastic name – Gin Wigmore? Superb sobriquet-ing there. Kudos. Fortunately, her aural outputs don't disappoint. A freakish cross-breed of Amy Winehouse, '70s anarchy and My Chemical Romance's Black Parade period (hear us out), Wigmore devilishly impedes any coherent thought with 'Black Sheep'. It's 100% pomp. Soulful keys and chaotic floor toms squirm alongside archaic rock organs. Booming baritone backing vox chant beneath lines as audacious as “Once you go black you'll never go back/ I'm a black sheep...” and oof, that voice.

Love Inks

Minimalist Texas natives Love Inks revert to simplicity, and instead of cramming as much noise as humanly possible into three minutes, they prefer to wallow in the basic elegance of a standard rock set-up with a few pedalboard effects. 'Leather Glove' is a choice, tender slab of affecting pop beef; it glistens in the moonlight Love Inks create, slinking along with a sublime bassline and folk-tinged voices. Not as ostentatious as much of the genre is, the allure comes from heartfelt emotions and a big splash of tranquillity. It's like a fluffy, snuggly blanket.