｡❃New Single Review:❇✧: CORIN “what i want with you and i…”
｡❃New Single Review:❇✧: CORIN “what i want with you and i…” Lincolnshire raised and now Liverpool-based, singer-songwriter CORIN debuts a well-suited ballad pairing that she calls her ‘sister-singles.’ 08.02.24 Words by Nick Jones https://youtu.be/nENKCdEj63c Starting only from the lo-fi loops of a fizzing tape, it’s really quite special how “what i want with you” delicately unveils such a rich composition. Through sweeping sounds of ambience and pulsating arpeggios, it finds a lot of its sonic identity through the work of producers Charlie Carr and Fraser Moran. CORIN explains that her partnership with Carr started from their time together in university, and that these songs had been worked on by the pair before. This perhaps explains the certainty that is demonstrated in the song’s concepts, and the cohesion between writer and producer. However, it’s CORIN’s vocal performance that gives “what i want with you” its lungs. Her voice is crisp and is so at home in an atmospheric pop number like this. Recorded at Carr’s home in London, it’s a real testament to the quality home recording can produce, especially if you have a talent like CORIN at your side. She guides the song even at its quietest moments and demands attention through its busiest. The backing vocals here are tight and in verses blend cleverly. In choruses, they float with reverb-heavy oo’s and ah’s and help paint the spaces with lighter hues. To call “and i…” the B-side of this release would feel wrong, especially since CORIN labels these songs as sisters. It feels natural for “and i…” to follow though, as it offers relief from a comparatively much more energetic song. What the collective songs do very well is splice each other together. It becomes clear when listening to “and i…” why these songs live side-by-side and how releasing them separately just wasn’t an option for CORIN. It’s a seamless record really, with both songs featuring very similar instrumentation and timbres. Whilst there are definite nods to more experimental sounds throughout the two songs, they are subtle and never lead the song too far from the idiomatic traits of pop music. It’s certainly a mainstream sound but with “what i want with you and i…” CORIN consciously allows many doors to stay open, allowing her the ability to explore many different styles and directions in the future. A solid debut. “what i want with you and i…” released on 2nd February 2024. You Might Also Like
｡✾New Single Review:✧✼: ĠENN “Calypso (Goya Remix)”
｡✾New Single Review:✧✼: ĠENN “Calypso (Goya Remix)” The Anglo-Maltese Brighton-based sisterhood of the psychedelic quartet GENN, (now that’s a tongue twister) is gearing up for their upcoming UK tour by releasing three tracks reimagined by different producers. 08.02.24 Words by Matilda Stokes https://www.youtube.com/watch?v=5ism4d2sOGQ First up on the list is “Calypso,” remixed by Delhi-based producer Abhishek Sekhri, who goes by the artistic moniker Goya. Goya’s thoughtful and tentative production approach seamlessly aligns with the genre-bending, mind-melting music of GENN. Stripped back and punky with evident Mediterranean folk influences, this track resonates like a love letter to Malta, where three out of the four members hail from. Leona Farugia’s soft, spoken vocals infuse deep meaning into every word, creating a profound resonance throughout the track against its overall reverberant feel. The dreamy, trance-like instrumentals contribute to an oxymoronic sense of comfort and tension. Around the 1-minute mark, saxophone lines emerge, alleviating and uplifting the overall feel of the track. The layers in this reimagined track intertwine to create a deeply reflective and imperceptible sonic tapestry. Janelle Borg, the band’s guitarist, shares her appreciation for folk music from around the world, citing influences like Altin Gun, Crimi, and Etnika, who bring Mediterranean sounds to the forefront. The band, with a clear, developed political and societal understanding, seamlessly translates this into the fabric of “Calypso.” The remix is infused with a poignant perception, exploring the depth and clarity the track conveys. As they embark on their upcoming tour from late February, make sure to catch GENN live in your city! View this post on Instagram A post shared by ĠENN (@genntheband) You Might Also Like
｡✵New Single Review:✺✼: The Oozes “Ultrasound”
｡✵New Single Review:✺✼: The Oozes “Ultrasound” In between the heavy landscape of punk, and the whimsically theatrical essence of camp, you can find London based band The Oozes. 07.02.24 Words by Jay Barney https://youtu.be/VdVtjDT3t9E With their new single ‘Ultrasound’, the queercore quartet bring together the rebellious side of both punk music and queer identity to create a reckless and bombastic burst of theatrical punk. Coming in at short-but-sweet 2 minutes 36 seconds, ‘Ultrasound’ is one the bands longest releases to date, demonstrating the urgency of their music and their experiences as queer individuals. Opening with a blues style guitar riff, the band quickly subverts any expectation that this might tease with a rupture of chaotic energy. It is an energy that lasts from start to finish; an aggressive rush of eccentric clammer that is elegantly put together and layered with a deliberately vigorous and playful vocal performance. At the chorus, this energy remains, however, lead vocalist Tom and the band go back and forth, passing the torch to each other for their own moments to shine. After Tom calls for the listeners ‘Attention’, the band bursts into a disarray of noise before leaving another moment of silence for him to announce the ‘Rumbling’ of his ‘C-c-c-crumbling.’ It is through the lyrics that the listener is given more of an insight into Tom’s experiences. The words paint a picture of mania through playful imagery of clowns, circuses, and fairgrounds: ‘I need pills to contain all my evil clowns’ and ‘Its so fun to embody a merry-go-round/Oh please do surround/I’m here to astound.’ A choice of imagery that is often associated with the band, who often take to the stage with red noses and stars painted over their eyes, it would be fair to say that ‘Ultrasound’ is quintessentially The Oozes. The Oozes are hosting a fundraiser in London on February 9th, raising money for lead vocalist Tom Gilbert’s top surgery. The event promises ‘A night of queer punk entertainment from The Oozes, Gender Crisis and an extra special one night and one night only performance of/by ‘TOMBO AND THE AMOOZING C-ABBA-RET’ giving you punk covers of every single song from Mamma Mia!!!’ You can find tickets here, or you can donate directly to the fund here. View this post on Instagram A post shared by The Oozes (@theoozes) You Might Also Like
｡☆New Single Review:★✼: The Menstrual Cramps “Abortion”
｡☆New Single Review:★✼: The Menstrual Cramps “Abortion” The Menstruation Cramps’ political anger is exactly what the punk rock genre needs. 07.02.24 Words by Mylo Castagnaro https://www.youtube.com/watch?v=jwl5Rb9SBFQ The Menstruation Cramps are a Bristol-born band who describe themselves as ‘DIY, loud, queer, anti-fascist, anti-racist, pro-choice, intersectional and feminist’. Their fusion of punk and hard rock is embodied not only in their sound but also in their lyrical content. Politics and injustice continue to be at the forefront of their work, tackling many feminist issues, such as periods, consent and rape culture, female body hair, and gentrification. Their latest single ‘Abortion’ demands the right to safe abortions for all. ‘Abortion’ is full of justified, political anger, confronting the patriarchy and anti-abortion laws with its provocative lyrics. The Menstruation Cramps perfectly encapsulate the raw emotions people with wombs feel towards the government’s continuous violation of our rights. This song does not waste time introducing its title, with the lyrics approaching the issue head-on, screaming ‘I have had an abortion’, followed by the powerful statement ‘My body my choice’. The lyrics leave no room for debate and instead, shamelessly attack the cis men making these decisions over women, non-binary and trans people’s bodies Notably, one of the best lines of the entire song uses satirical comedy to make a serious point, questioning if ‘you have trouble committing to me, how are you going to commit to a baby?’. While abortion is no laughing matter, I could not help but chuckle at this brilliantly written line. Smashing the patriarchy one song at a time, ‘Abortion’ forces you to face the reality of our world, where abortion rights are being restricted as a form of control over marginalised people’s bodies. The Menstruation Cramps’ anger and screams over this injustice are reflected in their sound and use of the drums, not giving you a moment of peace. This song is a feminist anthem, inviting all people impacted by this issue to scream from the top of their lungs, utilising rage as a political tool to spread awareness on this important matter. If you are based in the UK, make sure to check out their upcoming tour dates for a night of political punk rock fun. View this post on Instagram A post shared by The Menstrual Cramps (@themenstrualcramps) You Might Also Like
New Single Release: BODUR “DON’T BEAT THE SWEET OUT OF MY BOY (Florentino Remix)
New Single Release: BODUR “DON’T BEAT THE SWEET OUT OF MY BOY (Florentino Remix) All DJs should take note because this is the only song we need to be hearing in the club, and preferably on repeat. 06.02.24 Words by Layla Wheatley https://www.youtube.com/watch?v=AFO4afzk2AA Don’t beat the sweet out of my boy’ brings the listener into a trancelike state with an effortlessly cool atmosphere to it. The pulsing electronic baseline with pleasingly frequent bass drops adds to this hypnotic and energising vibe. The song almost takes on a dark quality with Bodur’s expert manipulation of voice and tone, accompanied by her meaningful lyrics. This track is a cohesive collaboration with gothic rapper Denzel himself, but it has also been remixed by Florentino. Don’t beat the sweet out of my boy’ brings the listener into a trancelike state with an effortlessly cool atmosphere to it. The pulsing electronic baseline with pleasingly frequent bass drops adds to this hypnotic and energising vibe. The song almost takes on a dark quality with Bodur’s expert manipulation of voice and tone, accompanied by her meaningful lyrics. This track is a cohesive collaboration with gothic rapper Denzel himself, but it has also been remixed by Florentino. She originally turned to music and creative writing as an emotional outlet from internal struggles and to express her opinion of societal issues, which she has since continued to do, establishing an authentic image. This is epitomised in her album title, ‘oz’ meaning ‘self’ in Turkish, where this song features along with two others entitled ‘Gorgeous’ and ‘Mummy’ For example, ‘Don’t beat the sweet out of my boy’ is a comment on toxic masculinity and how, in the effort to pursue manhood, some men leave behind or restrict their softer qualities. Specifically, this song was first a poem penned by Bodur pleading that her younger brother would not lose his innocence and sweetness in his transition to manhood. If you love listening to this artist, make sure to see her play live at the Great Escape Festival in Brighton on May 16th, where she is part of a brilliant line-up. View this post on Instagram A post shared by BODUR (@bodurbodurbodurbodur) You Might Also Like
New Single Release: Fräulein “Wait and See”
EP Track Highlight: Aeon Black “maskin”
EP Track Highlight: Aeon Black “maskin” Pulsing tech ambience of lost city nights from London based electronic artist. 06.02.24 Words by Thomas Heath https://www.youtube.com/watch?v=R1HiTs8JRA4 Aeon Black is intense. As I first listened to ‘maskin’ I felt like I was in a trance, a follower to the rhythmic, hypnotic sound they’ve crafted. This single is thick in layers, a minimalist and off-centre beat that drives the circular motion of the track, underpinned by a droning bassline that feels like you’re moving even when you’re not. The sound is one of late nights, trance like confusion yet singular focus in the ambiance it creates. The zoned out atmosphere of ‘maskin’ is unmatched. Punctuating the repeating cycles with heavy synth chords as waypoints in the music. Smaller electronic sounds which buzz here and there. It’s deceptively simple but incredibly hard to pull off. Aeon Black shows enormous creativity but distinct restraint in how they construct their sound, always pulling you in for more with each varying electronic crackle. The highlight is undoubtedly their vocals, the most mesmeric part of it all. Simple but foreboding lyrics that are delivered with corporate efficiency and quiet desperation. “two blokes in the night – Just another penny in the slot machine” – they are filled with longing, and a sense of being lost. Aeon Black describes their music as “experimental dystopia tech music for your enjoyment or non-enjoyment” and that’s the best way to surmise it. It feels like music you’ve heard by accident, music that creates a detached, techno-fantasy feel in an effortless way. This is music that seems to go deeper and deeper into forbidden feelings – daring you to follow it. You can listen to Aeon Black on Spotify, Soundcloud, YouTube and Boomplay Music. View this post on Instagram A post shared by Aeon Black (@_______aeonblack_______) You Might Also Like
New Single Release: Kirsty Grant “Outerbody”
New Single Release: Kirsty Grant “Outerbody” Kirsty Grant has delivered pop-perfection with her latest single ‘Outerbody’. It achieves what pop does at its best: transporting the listener to a happier, carefree place where all that matters is the tunes. 05.02.24 Words by Olivia Rix https://www.youtube.com/watch?v=wAMRnc4TrlM It’s the perfect dose of escapism to defeat January blues, and take you to that feeling of being in the club, dancing, surrounded by your best friends, or dancing in a world of your own. It’s a song for getting ready, and equally for the taxi back home. I for one want to hear this banger at the gay clubs in 2024, but I will also be playing it loud and dancing like nobody’s watching in my bedroom. This feeling of euphoric solipsism is in her lyrics: ‘In the crowd Might as well be alone Cause nothing else feels like home.’ Her personal lyrics are paired wonderfully with a catchy hook and chorus. This is definitely a sing-along anthem, it’s hard not to find yourself belting ‘cause it feels so good!’ Before this track, Grant released her cover of ‘Disturbia’ which was her production debut. She reinvigorated the classic with interpolated vocals, piano, and her dreamy, sweet-sounding voice. Her ‘Disturbia’ cover feels exciting, and ‘Outerbody’ is the perfect follow up from this to showcase her lyricism and fresh sounding pop sound. Sharing her feelings about the song, Grant said “I would love the listener to actually experience the song, and be taken out of whatever stresses they are dealing with, and get lost in it. I love that the lyrics describe how you can be on your own, or surrounded by people in a club, but when your favourite song comes on, you can just be taken out of everything and be in a world of your own.” She has certainly achieved that vibe with this song, and if you give it a listen you can let yourself get lost in it. Grant has started 2024 off on a high, and the rest of the year still awaits! View this post on Instagram A post shared by kirsty (@kirstygrant) You Might Also Like
New Single Release: Millie Turner “Venus”
New Single Release: Millie Turner “Venus” Returning gracefully with her first single release since 2021, Millie Turner pays homage to her own femininity in a refreshing track which appreciates the natural beauty of womanhood. 05.02.24 Words by Katie Ahearn https://youtu.be/0rNrOEJ69qk A ‘bang’ would be too violent address singer-songwriter Millie Turner’s return to the music industry. Her new single, ‘Venus’ is more of a sparkle: a shimmering star that plays like the lovechild of Lorde and FKA Twigs. A letter of adoration to the mythological goddess Venus, a glittering melody and gentle drums harmonize with mellow, pitchy vocals, evoking both the softness and strength of femininity. The imagery of the ocean has the same effect, a thought echoed in the underwater visual of the single’s cover art. A submerged, softly focused Turner seems to be immersed in the quiet power of her own womanhood as she gazes at the camera. At first, the track’s ethereal soundscape appears threatened by the pre-chorus “sharpen the claws, bending the verse, digging the way to space for Venus”. But that’s not without good reason, Turner explains in an Instagram post: “I pictured a group of scientists with their notebooks and sampling backs on an expedition to mine Venus for her soil,” “But beauty is always more mysterious and complex, and we cannot use rationality to play its games.” It serves to highlight Turner’s message that subtle beauty may be unexpected, but once noticed, it cannot be ignored. The track is the sonic twin of the building of a gentle wave, rising into a chorus before softly falling back into surrounding verse. Drums and cello dance hand in hand with Turner’s vocals. And with the lyrics “I took to the sky/and saw the rocket breathing residue/they saw that I saw you first”, it is emphasised that a woman’s own beauty is appreciated by herself in a way that cannot be perceived by others. It’s clear Turner is an aesthete, turning a blind eye to Venus’ other, less-visual qualities of prosperity and victory. But with lilting vocals akin to a siren’s, it’s hard not to be convinced by her sentiment. View this post on Instagram A post shared by Millie Turner (@millieturner) You Might Also Like
New Single Release: Marlowe “Give It Up”
New Single Release: Marlowe “Give It Up” Marlowe (they/them) is set to start 2024 with a bang, thanks to their sparkling debut single ‘Give It Up’. 05.02.24 Words by Minnie Life https://youtu.be/nYvGabF3mF4 This record is so much fun, bursting with a catchy pop chorus, hints of SOPHIE, and a bit of House thrown in there for good measure. It feels very in line with what the likes of pop-giants Ariana Grande and Beyoncé are currently exploring — big pop tunes that are expanding and reinventing the genre. ‘Give It Up’ feels very referential, with nods to Prince and Charli XCX, but also very fresh. In this single, Marlowe explores their frustrations with queer relationships, running into barriers with their partners who are never quite comfortable enough to be themselves, afraid of their feminine side. Marlowe wants them to embrace the femininity they fear, and leave it all out there on the dance floor. It’s a really empowering message, especially at a time when femininity, queer love and gender nonconformity are all being deeply demonised. It’s at times like these when queer communities find solace in music, on dance floors, at the club. We get to come together, embrace each other, and dance the fear of the outside world away. ‘Give It Up’ is the perfect track for this. You Might Also Like