New Single: Lip Filler ‘Laugh Track’
New Single: Lip Filler ‘Laugh Track’ Lip Filler prove indie-rock is no laughing matter with their new single ‘Laugh Track’ By Beth Gullliver Currently Listening to: Lip Filler’s new track is perfect in its unpredictability. The band, who first performed together on St Patrick’s Day in 2022, pride themselves on surprising the listener in live performances and in the studio, and ‘Laugh Track’ continues to encapsulate that energy. It’s fresh, sonically different to their previous EP ‘‘witchescrew’, and demonstrates the band’s willingness to experiment with genre-blending sounds. The south-east London quintet consists of Jude Scholefield and Verity Hughes on vocals and guitar, bassist Theodore Pasmore, Nate Wicks on drums and George Tucker who plays the keyboard and has adopted a front-man energy on vocals. Lip Filler met at various points throughout their education which explains why their musical chemistry is so tight. ‘Laugh Track’ is confident and begins with no instrumental, instead launching straight in with the lyric ‘Taking time to heal/ So, you’re dancing in the street/ To a silent song’. The indie-rock anthem builds to a deliciously whiny chorus of: ‘And it’s melting off/ In a drip/ On your block’. A stand-out lyric penned by the band and produced by St Francis Hotel – Declan Gaffney – is: ‘You’re turning all your pain into miracles/ It’s uglier than beautiful’. NME previously wrote: “Lip Filler have developed a reputation as a rowdy, sunny-side-up indie band imbuing their sound and their shows with pure chaos” – a notion that continues in their latest release. The track is likely to reach a fever-pitch live, with soaring vocals and an infectious beat that will please the band’s devoted fansbase. Lip Filler previously sold out multiple venues across London (including a gig hosted in their flat) and are set to perform across the country throughout April. If you want to witness their incredible energy live, be quick – you won’t want to miss the band’s rise to the top of London’s indie-rock scene. You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
New Single: Matilda Rowe “Never Do”
New Single: Matilda Rowe “Never Do” An exciting debut track from London’s rising independent artist Matilda Rowe, Never Do is a fresh take on bedroom jazz mixed with neo-soul sensibilities. By Sophie Prior Currently Listening to: Centering in on Matilda’s rich and soulful voice, the track sees the artist exploring themes of self-resignation and singing of the frustration that comes along with never having enough time to do what we really want to. With relatable and honest lyrics accompanied by jazz-infused instrumentation, the single is creative, authentic, and marks an exciting start for the singer. Never Do opens with a smooth electric guitar progression with synth keys tinkling in the background, before a steady drum groove comes in along with Matilda’s honeyed vocals. With a distinctive sound developed over her many years of musical experiences, Matilda’s voice is captivating and her vocal runs and melismatic moments are effortless. Moving to the chorus, the beat moves to a slower, more syncopated rhythm, with a soulful horn tune added while Matilda sings ‘it’s another day, another sweat, another fight’ // ‘another change I’ll realise and make tonight’ // ‘another thing I’ll let myself aspire to, and never do’ // ‘and hate myself all a new’. The track becomes more experimental as it goes on, the energy growing as the singer scats and riffs and shows her vocal range and flexibility to the lyrics ‘I need more time’ while the band seem to jam and improvise. And as she is already known for being a great live performer, the track’s infectious energy is sure to be a hit on stage. Speaking on the influences for the track, Matilda notes Laura Marling’s New Romantic and Lianne La Havas’ Age for their repetitive guitar patterns and curious and honest lyrics. When it came to the instrumentation and production, Amy Whinehouse’s Help Yourself was the main reference track; another female artist that influences Matilda greatly. Never Do was produced by Gareth Finnegan and recorded at cult DIY studio, Total Refreshment Centre, in London. Written in the summer of 2022, the track’s release comes after years of hard work in the independent music scene: gigging in venues across London and the UK and building up a loyal following on social media. Matilda is part of a new wave of London and Dublin based artists who promote authentic creativity and finding your own sound – which she has definitely achieved with Never Do. Never Do is the first single from the artist’s debut album which is set for release in October this year. Talking about what we can expect from the rest of the album, the singer notes that the record ‘is raw and vulnerable and breaks boundaries of expectation consistently, in a way to capture life and humanity in its messiness’. Recorded in long form, the album hopes to take listeners on a journey full of catharsis, with lots of infectious melodies and great storytelling along the way. You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
New EP: Nikhita “Solace”
New EP: Nikhita “Solace” Hailing from Scotland and based in Edinburgh, RnB artist Nikhita stuns with the release of her debut EP, Solace. By Sankavi Naresh Currently Listening to: This five track collection is a deeply introspective exploration of self worth, identity, troubled relationships and familial struggles-woven together with Nikhita’s entrancing vocals, live instrumentation and the soothing frequencies of Himalayan singing bowls. At the heart of Solace is Nikhita’s ethereal vocals, soaring effortlessly over a delicate neo soul and RnB soundscape, reminiscent of Cleo Sol and Raveena. Languid rhythms and radiant sonic textures blend seamlessly, inviting listeners to lose themselves in a space that is both reflective and healing. Solace is mesmerising from start to finish, but these three tracks are my personal standouts. “Lake Karachay” serves as a heartfelt introduction, the title being a nod to a Russian lake, once used by the Soviet Union to dump radioactive waste in. It’s aptly melancholic and hurt in its tone. Whilst “Insurance” eases you in from the beginning, maintaining an assertive presence without being brash or forceful. “Golden Child” is quietly empowering, its soulful melody tugging at the heartstrings. With imagery of “bangles stacked in gold” and “turmeric on her toes” and lines such as “you can come to me for anything”, there’s an allusion to finally reaching self-acceptance and self-love. The lyrics seem to reflect on a past self, in need of the love and compassion she delivers in this beautifully woven track. “Golden Child” is certainly a testament to Nikhita’s artistry and emotional depth. In her own words, Nikhita says “writing these songs was a place of solace for me, helping me navigate some challenging situations – and solace is what I hope others will find upon listening. I have always thought of music as an avenue for healing, and recently I’ve been learning more about how to intensify that effect sonically, in traditional ways, linked to my heritage. I play singing bowls on a few tracks – these instruments originate from the Himalayas and produce a set of overtones, creating vibrations which can aid in our meditative process and regulation of the nervous system. I am only just beginning my sound healing journey, and there is so much more I am eager to learn about using frequencies for healing.” Nikhita’s intention to utilise her music for healing is evident throughout Solace, which feels both rejuvenating and restorative. The EP acts as a cathartic release for Nikhita and her listeners; there’s something metaphysical and uplifting about it, transporting you to a safe, dreamlike space where worries are eased. Both her music and her lyrics pay homage to her heritage, intertwining personal narrative with cultural pride. Beyond the studio, Nikhita is no stranger to a live performance. She has graced stages at PITCH Scotland, Solas Festival, Kelburn Garden Party, and more. Nikhita’s growing reputation has been further cemented by praise from The Scotsman, Tenement TV, and multiple appearances on BBC platforms, including a notable live radio performance at Maida Vale Studios for International Women’s Day. Solace is more than just an EP. It’s an invitation into a healing space, where personal catharsis is married with innovative musical expression. Nikhita has firmly established herself as a rising RnB artist, ready to captivate audiences both on record and on stage. Catch Nikhita live on the following dates: 10th April 2025 – Solace EP Launch (Headline Show) – Whitespace Gallery, Edinburgh 26th April 2025 – Poetry and live music night at Gallery Natami – Edinburgh You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
New Single: Låpsley “Hurricane”
New Single: Låpsley “Hurricane” 9 years since her debut record ‘Long Way Home’, Låpsley has consistently found success by crafting a version of ambient pop characterised by bold vocal manipulation and the seamless melding of synthesisers, skeletal drumbeats and delicate piano sections. By Callum Lidington Currently Listening to: With 3 full-length LP’s under her belt, she operates in a space that is accessible enough for the casual listener, but dynamic enough for serious listeners to dissect and find satisfaction in the instrumentals she creates. However her latest single ‘Hurricane’, reaffirms the shift to a new aesthetic and a new sound, bringing with it a distinctly free-spirited medieval energy, we’re talking chainmail, churchyards, ancient runes, bows and arrows. The track is accompanied by a Jeanne Buchi-directed video which sees Lapsley as this mythical enchantress-like figure on horseback surrounded by 40 nude men (it’s an intense watch, but there is no denying the commitment to the medieval vibes)! The track in Låpsley’s own words is “an unapologetic expression of the love from a woman. An omnipotent, unbridled love. A love that’s feared and revered. Pierce your flag into the ground to affirm. Love to return. Love for the sake of free will. Love in protest. Love in chaos. Love in peace. A wild, misunderstood magic.” Starting with a tenderly delivered acoustic ballad, which patiently builds to its final energetic crescendo the structure of the song is symbolic of the quote above, that longing feeling of wanting to share the love you have, the search for the right person, and the release of all the built up emotion once you find that love. This track along with previous singles ‘Church’ and ‘Better’ marks the start of a journey for Lapsley into uncharted territory, leaving her old self behind, and venturing into a new evolution of her artistry. Despite its differences from the last 9 years of Låpsley’s discography, the most welcome constant is her fantastic vocal performance and uniquely rich and soulful tone. Låpsley’s 4th full length record ‘I’M A HURRICANE, I’M A WOMAN IN LOVE’ will be released on the 2nd May through ‘Her Own Recordings’, a label founded by Låpsley, specifically for women and non-binary-led projects. You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
New Single: MERE AMORE “MICROMAC”
New Single: MERE AMORE “MICROMAC” MERE AMORE just released their second single and now is the perfect time to become their latest fan. 3 April 2025 By Jamie Shovelin Currently Listening to: The self-proclaimed queer grunge band from Manchester are kicking off 2025 with a bang, releasing their sophomore single “MICROMAC”. The four-piece band are the latest to join the iconic Manchester punk scene and they are here to make a statement, this latest single discusses themes of discovering yourself in the current state of the UK and the challenges that come with that. The sound of the song echoes the Riot Grrrl movement and grunge scene, starting with a very in-your-face distorted guitar that sticks with you and helps to drive the point of the song home, with a drum breakdown as it comes to the chorus. The vocals and lyrics themselves stick out as it is an almost preaching style in the verses, calling out the political climate of the country, specifically calling out the lasting stain on the country left by the conservative party and that we need to fight for what you believe. With lyrics like “open your eyes with cocktail sticks” it is a truly straightforward way of them saying, do not turn a blind eye you need to see this, and MERE AMORE drive that point home perfectly. As the song ends repeatedly the vocalist tells you to “open your eyes”, telling you not to fall for the lies your told and then ends on a frustrated scream that a lot of fans will feel themselves when it comes to the issues brought up. This single comes across a lot more anger fuelled than their single PARANIOA without changing the sound drastically too different. MERE AMORE are truly helping to keep the riot grrrl movement alive and we cannot wait to see what they come out with yet. You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
New EP: Zo Lief “Hypnosis”
New EP: Zo Lief “Hypnosis” Zo Lief, meaning ‘so sweet’ is the collaboration of musical and romantic partners Laura Chen (Dutch singer-songwriter and guitarist) and James Attwood (British multi-instrumentalist). The band’s unique sound comes from this partnership, where Chen and Attwood work as each other’s muses to produce cinematic songs marked by poetic, introspective and playful lyrics and a cacophony of instruments that melt together into a psychedelic, dreamy sound. By Olivia Rix Currently Listening to: Chen’s impressive vocals on the first track ‘You (A Burden)’ (released as a single) lead us into the EP. Her voice immediately stands out as one that blends melancholy and honey-like intonations. Chen’s velvety voice is paired with a hypnotic instrumental which shifts and evolves with the emotion of the song and the layers of her vocals. The songwriting is beautiful, making ‘You (A Burden)’ a journey of thought, like a letter penned in frustration to a burdensome lover that is never sent, or a diary entry to explore and vent out frustrations within a relationship. The lyrics are clever and punchy: “Must let go of those regrets, Or they will hold onto you”. Concise, introspective lyrics like “you keep me out of control”, the reason for leaving, paired with the reason for staying: “[you’re] truly one of a kind” echo musical influences like Arctic Monkeys and Ultraviolence era Lana Del Rey. In Love At The Launderette, we get to see the impressive range of the band, as this is a much more playful song, a fun take on the lover’s conquest trope. Again, we have a self-contained story within the song which showcases the band’s brilliant songwriting. This song is sweeter, more indie-pop or dream-pop sounding. It’s a story of a launderette crush, with cheeky double entendre: “Our cycle is in sync” and inventive, unexpected rhymes “button // rock bottom”, “by the nose // superimposed” which add to the excitement and fresh feel of the EP. She Makes You Look Twice is heavier, grittier. Discussing this EP, the band says: “We love the juxtaposition of something that can be both heavenly and heavy, and seek out the intersection of those opposites; the areas in-between.” The interplay between the lyrics and instruments in this song is perfect, as we hear of a mysterious woman with “something bewitching about her” and we are ourselves bewitched by the song as instruments are gradually teased and added and the beat comes in, followed by fuzzy guitars. Hypnosis, the title track, has an ethereal sound, one which is sonically blissful. The lyrics describe feeling hypnotised by a lover, aware of their shortcomings but still drawn to them as though they are contagious. The switch from Chen’s soft, sweet singing, to her speaking is playful and delightful, followed by a dreamy guitar interlude. Pinch Me switches the mood with its upbeat sound, and Stop The Party closes the EP beautifully, with softer, sadder piano and slow drums and synth paired with melancholy lyrics and singing: “You can be lonesome in a jam packed space, always feeling out of place.” Throughout the EP, Chen uses her voice as another instrument, adding layers of emotion to the songs. At times she talks, she whispers “are you lonely too?”, she floats over the instrumentals and harmonises with herself, and sings sweetly, more heavily, moodily, draws out her voice and lifts it higher. Hypnosis on the whole has a delightful, chameleonic sound and feel. The emotion laden guitars are reminiscent of Jeff Buckley’s Grace and The Strokes, and the heady synths blend in a sound like that of Men I Trust or the electronic, twinkly aspects of Portishead. The production, done by themselves and James Bagshaw of Temples, is delicious. The EP is genre-defying, with aspects of psychedelia, dream pop, chamber pop, indie and garage rock. The lyricism sketches out scenes for an immersive, cinematic sound which deals with love in all of its sweetness, allure, and pain. Zo Lief are one to follow and watch as their new EP Hypnosis promises to seduce and hypnotise listeners worldwide. 2025 will see the band promote their new EP with a headline show at Cinetol Amsterdam on June 7th, ahead of soon to be announced touring and festival performances throughout Europe and the UK. You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
‘I Wanted People to Feel Like They Were Looking Into My World’: An Interview with Clara Mann on Her Debut Album Rift
‘I Wanted People to Feel Like They Were Looking Into My World’: An Interview with Clara Mann on Her Debut Album Rift I have always admired artists who have a clear vision of what they want their music to say. Such a quality could not be truer than for singer-songwriter Clara Mann, whose debut album Rift offers genuine vulnerability and intelligent self-reflections. By Sophie Prior Currently Listening to: As I joined the call and sat down to speak with Clara, I had a list of questions ready to be asked in their pre-set order. Immediately upon exchanging our hellos, I was met by Clara’s warmness and lightness which completely calmed me and changed what I had anticipated to be a question-and-answer style interview into an insightful and free-flowing conversation. Rift was released on the 7th of March, after what I found out to be a long but rewarding writing and recording process. ‘How do you feel about the album being out?’, I initially asked. ‘It feels quite emotional […], seeing other people carrying the songs with them rather than just me carrying them’, Clara replied. ‘It’s quite a weird feeling, carrying a project like that and now it’s just suddenly out in the world? I feel like I’m in free foil […], like I’ve just jumped out of a plane and I’m falling, not in a bad way though’, Clara laughs. Part of what drew me to Clara’s music was her gift of storytelling and the poeticness of her words. When I asked Clara what the album meant to her, she replied with the same lyrical elegance that you find in her music. ‘The album was a way of accepting a lot of sadness and things that I felt were broken that I knew would never be mended to look the same way as before they were broken […], and accepting that things change and loving things in their reassembled shapes, or trying to’. She told me that the record was a way of processing the contradictions that she has within herself; the rift which reveals both the light and dark parts of her being. ‘I wanted people to feel like they were looking into my world’. Intimacy is found in Clara’s lyrics but is also found in the album’s production. With minimal instrumentation – only piano, guitar and a soft beat on occasion – supporting Clara’s voice, I was intrigued as to whether this was done on purpose. ‘The songs need to stand on their own’, Clara tells me. ‘I’m not trying to hide behind instrumentation, not behind more than I already am in metaphor lyrically’, she continues. Another reason for the minimal instrumentation is that Clara tours solo with no band, and so replicates the album live by accompanying herself on the piano and guitar, switching between instruments throughout the show. Before chatting to Clara, I knew of her classical upbringing, but was eager to know more. Clara was a classical pianist growing up, completing all her grades and teaching while she was still a teenager, as well as singing in choirs. I wondered how Clara transitioned from the classical world to the one she has now found with Rift. ‘When I was about sixteen, one day I just thought to myself, I don’t actually enjoy this anymore […], I still love classical music, but I found that the world can be quite restrictive. Clara recounted how she used to get so nervous before giving a piano recital that her knees would shake, which interestingly never happened when she sang, which her little sister pointed out after watching Clara give her first-ever gig. ‘Playing and singing live is the most me I feel […], the most uninhibited I feel’. Clara will be touring throughout April and May, with headline tours in London, Edinburgh, Manchester and Bristol. The album comprises ten tracks, delicately crafted to show every nuance of Clara’s voice. ‘Do you have a favourite track on the album?’, I asked as a closing question. ‘It changes, but I’m really excited to play the piano tracks towards the end of the set, like The Dream’, Clara told me. ‘It feels like coming home’. Listening to the track, one can’t help but notice the tone of the piano, which is mellow and rustic; I can imagine Clara playing an ageing piano, each strike she makes bringing out and adding to the instrument’s history. The rawness of the music is beautiful. Rift is streaming on all platforms now. You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
Lo Lauren releases new single ‘Rose & Jack’: A Heartfelt Ballad Steeped in Nostalgia
Lo Lauren releases new single ‘Rose & Jack’: A Heartfelt Ballad Steeped in Nostalgia Lo Lauren has steadily emerged as one of the most exciting new pop artists on the UK music scene, and her latest release, Rose & Jack, is a testament to her impressive range as a performer and songwriter. The track arrives as part of her upcoming EP, Wonderlust, which is set to drop on April 25, 2025. Known for blending 2010s pop influences with her own fresh songwriting style, Lauren’s music has drawn acclaim for its honesty, emotional depth, and infectious hooks. By Isaac phelan Currently Listening to: Rose & Jack is a heart-wrenching ballad that highlights Lo Lauren’s softer, more vulnerable side. Penned alongside longtime collaborators andysocialclub, Carys Selvey, and BlueGirl, the song reveals a stripped-back, emotionally raw performance. Lauren’s delicate vocals take center stage, gliding over gentle piano chords and subtle string arrangements that provide warmth without overwhelming the song’s intimate atmosphere. The track’s title nods to the iconic Titanic characters, yet rather than retelling the film’s story, Rose & Jack uses this reference to explore the emotional weight of a secret relationship — one filled with longing, passion, and unspoken connection. The storytelling feels deeply personal, and Lauren’s tender vocal delivery amplifies the emotional resonance. This sincerity shines through in her performance, as she taps into the vulnerability that makes the song so relatable. The accompanying music video wacks this feeling up to a hundred, depicting Lauren auditioning for the role of Rose, and ultimately failing to secure the role. It’s a remarkable narrative piece, and continues Lauren’s streak of producing high quality videos to accompany her music. For her previous single, Born To Run, Lauren spent three months learning the entire song backwards to create a stunning ‘reverse’ music video, a testament to her uncompromising artistic vision. Rose & Jack follows a string of successes for Lo Lauren. Her previous releases, Before The Kiss and Wonder, earned her significant industry recognition, including a feature on YouTube’s ‘Pop Fresh’ playlist and a coveted spot as BBC Radio 1’s ‘Future Bop’, chosen by Mollie King. Before The Kiss even caught the attention of Hollywood director Jordan Weiss, who featured the song in the trailer for her film Sweethearts on HBO Max. Beyond her recorded music, Lauren’s growing presence in live performances has cemented her as a standout act. After supporting acts like Mercer Henderson and playing a sold-out show at The Grace in London, she performed for 25,000 fans at The Hundred cricket event, sharing the stage with major stars such as Cat Burns, Zara Larsson, and Nell Mescal. As Lauren prepares to release her debut EP Wonderlust, fans can expect a project that captures the emotional highs and lows of navigating one’s twenties — a theme that resonates deeply in Rose & Jack. As anticipation inevitably builds for her long-awaited EP, Rose & Jack stands as a striking example of Lauren’s ability to craft deeply personal, yet widely relatable music. With a growing fanbase, notable industry recognition, and a clear artistic vision, Lo Lauren is undoubtedly poised to become one of the UK’s most exciting breakout artists. You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
AK Patterson’s ‘Jailbird’ EP: A Haunting Exploration of Survival and Resilience
AK Patterson’s ‘Jailbird’ EP: A Haunting Exploration of Survival and Resilience Acclaimed singer-songwriter and multi-instrumentalist AK Patterson returns with her powerful new EP, Jailbird, an evocative four-track collection that delves into themes of trauma, resilience, and hope. Released on 21st March, the EP is a deep, emotional dive into Patterson’s shattered world. This is without a doubt the most exciting musical project I have seen this year. By Isaac phelan Currently Listening to: Known for her introspective songwriting and fearless exploration of dark subject matter, Patterson describes her style as “modern chamber pop fused with the melancholic spirit of 90s Lilith Fair”. Inspired by her time working in men’s prisons, the EP’s title track tells the story of three prisoners. Reflecting on her experience, Patterson shared: “Part of the job would be to walk around the blocks holding a clipboard with a list of cell numbers and names on it. I would knock for the men and gather them up to go sing songs together in the prison chapel… It has encouraged me to write songs that tell the stories that need telling.” This temperament defines much of Jailbird, which amplifies the voices of society’s outer fringe. “I Don’t Know How to Die” introduces listeners to Patterson’s own mental health struggles, written following a nervous breakdown that left her unable to sing for eight months — coupled with her decision to leave her band of five years. Dan Smith from Bastille praised the track, saying: “‘I Don’t Know How to Die’ blew me away when I first heard it. It’s spine-tinglingly haunting and beautiful.” Elsewhere, ‘Juno’ explores themes of independence and self-acceptance, while ‘Morticia’, inspired by a gruesome historical murder, adopts the voice of a victim pleading with death to piece him back together in the afterlife. Reminiscent of Soundgarden’s Black Hole Sun and The Cranberries, Morticia is a fierce and powerful song that blends brooding grunge guitars with evocative storytelling. Patterson’s musicianship is a defining feature of the EP. As a skilled multi-instrumentalist, she plays guitar, violin, harmonium, fiddle, and keys, giving each track a distinctive sonic character. From the stark minimalism of I Don’t Know How to Die to the dynamic intensity of Morticia, her versatility shines throughout. The EP’s title holds deeply personal significance for Patterson. Diagnosed with a muscular condition that trapped her voice for months, she felt like her voice was “literally trapped inside the cage of my own body.” This theme of reclaiming one’s voice — whether a prisoner seeking redemption, a victim seeking justice, or someone escaping a toxic relationship — lies at the heart of Jailbird. Patterson describes these songs as “darker than ever,” yet ultimately about “survival, resilience, and, above all, hope.” Following her acclaimed performances alongside Bastille, Patterson’s return to music has been met with growing recognition. Praised by The Independent for her “superb songwriting” and championed by John Kennedy (Radio X), Patterson’s ability to balance haunting narratives with emotional depth has marked her as one of the UK’s most compelling emerging artists. Jailbird is a fearless and deeply affecting EP, that transforms pain and uncertainty into an utterly powerful expression. This work won’t just stand the test of time, it will outlive the sun. Patterson is a voice that will whisper in our ears for generations to come. You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
Adam Hopper & The Wimps announce debut EP: ‘Remember To Have Fun’
Adam Hopper & The Wimps announce debut EP: ‘Remember To Have Fun’ Marking the news of long-awaited debut EP Remember To Have Fun – due 9th May – and a series of tour dates this spring (including an intimate hometown show at Manchester’s Castle Hotel) Adam Hopper & The Wimps share cruising, 60’s garage-inspired cut ‘My Friend Al’ By Isaac phelan Currently Listening to: Remember to Have Fun by Adam Hopper & The Wimps Their latest entry bursts to life with jangly guitars, swirling harmonica, and a buoyant rhythm section that channels the carefree charm of a bygone era. Drawing fond comparisons to the seminal Nuggets compilation, the track feels warm and familiar yet distinctly modern. Fuzzed-out guitar licks and playful vocal harmonies mark out a lo-fi aesthetic, revealing a cozy intimacy that wraps itself around Hopper’s earnest, wistful narrative. The lyrics celebrate the simplicity of adolescence — lazy afternoons spent at Blockbuster Video, aimless walks down country lanes and marathon gaming sessions. The song’s conversational tone lends an effortless grace; it’s less a traditional indie anthem and more a fond retelling of golden memories. Offering more on the single, Adam says: “From the years 2007 – 2010 my friends and I spent every single Saturday meeting at the Blockbuster Videos in Great Driffield on the corner of George Street and Middle Street South at 11am/12pm. We would spend a while looking at the computer games, then go to Cooplands bakery for 4 sausage rolls. After this, we would go back to mine and play Halo 3 for at least 5 hours. My Friend Al is a dedication to that time and my friend Alex.” The production is deliberately unfussy. Guitar riffs dart between breezy strums and sharper, twangy licks, while the harmonica injects bursts of brightness. The result is a sound that feels equally at home in a sweaty pub gig or drifting from a vintage record player. Hopper’s laid-back vocal delivery exudes warmth, combining gentle crooning with moments of spirited urgency. His northern charm is woven into every line, giving the song a deeply personal touch. The harmonies, loose and unpolished, reinforce the nostalgic tone — like a memory retold with affectionate exaggeration. “My Friend Al” is an anthem of memory, friendship, and the innocence of childhood. By embracing those minute details of youthful routine, of a life lived fully, Hopper uncovers a deeper sentiment: the quiet comfort of reliable friendships and shared rituals. Deep down, we all want a friend like Al. You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆