NEW SINGLE RELEASE – Lola Wild ‘Here I Go’
NEW SINGLE RELEASE – Lola Wild ‘Here I Go’ Lola Wild lulls the reader into a retro-cinematic haze with ‘Here I Go’, her latest single. 14.12.23 Words by Hannah Naismith The song looks into the future after a discordant shift in a relationship; the time lost to memory, and lost with another. Through the surreal blending of the guitars with Lola Wild’s backing harmonies, a soundscape is created that deepens towards the end of the song with the electric guitar’s dissonance. There is a darkening indie touch to Lola Wild’s sound – the post-production layers rich, wistful vocals in the creation of ‘Here I Go’. To accompany this, Robert Chaney balances the richness of Lola’s voice to offer the duality in the relationship’s story. In the final verse, Lola repeats the line: ’I keep driving all night and day/ I wonder why and what has changed’. The song mirrors this: it immerses the reader in a late-night drive cruising past the flashing city lights into the abyss of feeling, of what once was. Lola Wild, as an artist, has already begun to craft her own artistic identity that centres upon a flamboyant, 60s like exterior persona. This song reflects her own nostalgic character as it merges the reminiscence of the past with the modern. Lola finds her influences in the likes of Connie Francis, Roy Orbison and David Bowie. A parallel could also perhaps be drawn between Lana Del Ray, although Lola Wild maintains her own noir and artistic flair. Following on from her previous single ‘Rendezvous’, there is much anticipation for her debut EP, ‘Get Up’ set to be released early next year on January 26th. View this post on Instagram A post shared by Lola Wild (@itslolawild) You Might Also Like
INTERVIEW – Mollie Coddled @ Manchester’s Year’s End Festival
Photo by Kyle Roczniak INTERVIEW – Mollie Coddled @ Manchester’s Year’s End Festival “I’m sweating my tits off! Don’t wear knitwear on stage.” Sound advice. 14.12.23 Words by Will Knights Arguably the best dressed (or most overdressed) act at Manchester’s Year’s End Festival, Mollie Coddled owned her unique display of intimate indie pop clad in a stylish knit hood. The staunch honesty of her music and effervescent live performance creates a whole new world through the candour of her lyrics. Everyone’s friends at a Mollie Coddled show – so much so that she recognised someone in the crowd halfway through her set. Flanked by her band, Liv and Luke, in the smoking area of the Deaf Institute (with accompanying Mancunian weather), we caught up with the Leeds-based performer as she reflected on 2023. This has been a big year for you, playing Leeds Festival, supporting Ellie Dixon on her tour, what’s been your highlight? To be fair, the tour with Ellie Dixon was really cool, when we played in London, that was the biggest venue we’ve ever played. It was almost a thousand people which was pretty cool because I’m just from a farm, y’know what I mean? How did that tour come about? So, a little bit of backstory – me and Ellie are internet friends through posting Easy Life covers and we messaged each other like “what the fuck, we keep covering the same songs”, so we became friends and she had me on her tour which was really sweet of her. It was the most welcoming experience to be on tour with her because she’s so lovely. What have you got planned for 2024? New music – lots of it. I’ve been working on it for a long time so I’m very excited to finally put it out and hopefully another tour towards the end of the year and some more headline shows. Photo by Kyle Roczniak You’re a very DIY artist and self-produce your music – walk us through your creative process. It mainly consists of crying! I guess writing songs is like journalling, and getting out your emotions and all your trauma out on paper so you don’t have to think about it. It’s like ranting to someone and sending a message except you don’t send it to someone, you play it to loads of people on a stage instead, which is probably worse, but here we are. You’re very open about being neurodivergent, what is it like being neurodivergent in the music industry? I feel like a lot more people than you’d realise are neurodivergent in music but the don’t talk about it or don’t realise it, they just think they’re creative. Most of the musicians I know are also really weird, we’re all really weird not going to lie [laughter]. It’s hard sometimes because getting on a stage is really anxiety inducing but it makes it well worth it at the end of the gig when people come up to you and tell you they enjoyed it or related to the songs. It affirms you that you’re doing the right thing by playing to people because sometimes you don’t want to talk about these kinds of things to someone in person but when people say they relate to it, that makes it all worth it. It’s easier to say it to no one and then say it to everyone rather than one specific person too. Photo by Kyle Roczniak Your personal life and professional life must mix a lot, do you find you have to separate them? It’s really hard not to think about music all the time, especially having autism, when people ask me what my hobbies are, I say music because it might be my job but it’s still what I do in all my spare time. It’s all I think about so it’s difficult sometimes to turn your brain off from it but it’s my life. What do you think can be done to remove the barriers that women face in the music industry? Even though there is progression, there’s still a lot of negative energy toward women and people of marginalised genders in the music industry from the patriarchy. Even male sound engineers or male bands that might be on the same bill as you don’t always give the support or the kind interaction that they could give you. Sometimes you get underestimated and that’s a very widely shared experienced between women and non-binary people in the music industry. There’s a lot more support for getting women and non-binary people on lineups now which is nice, but it is the bare minimum. A lot more can be done within the industry so people change the way they interact with women and non-binary and trans people to be more welcoming because it’s scary when you’re in that marginalised community because you don’t know how people will treat you. View this post on Instagram A post shared by ❁ mollie coddled ❁ (@mollieiscoddled) You Might Also Like
NEW EP RELEASE – Dionne ‘Give Me Vogue’
NEW EP RELEASE – Dionne ‘Give Me Vogue’ Dionne releases her debut EP with the Headline Track “Give Me Vogue” 14.12.23 Words by Molly Gregson https://www.youtube.com/watch?v=OXp9tp72Fvs Dionne, an esteemed multi-instrumentalist famed for her work within Florence + The Machine, has come out with an entirely self-written and self-produced debut solo EP entitled Give Me Vogue. Give Me Vogue takes listeners on an intentional rollercoaster of sound and emotion, full of joy and “ecstasy” (as Dionne cries out on the title track) and poignant heartache. Give Me Vogue is demonstrative of an artist that has been in working in the industry for a while, it’s polished, succinct and it’s wholly original whilst not being afraid to show off it’s influences. Indeed Dionne has been in the music industry for some time, building a name for herself as a multi-instrumentalist live performer and backing vocalist for Laura Mvula and then taking on a similar role within Florence + The Machine since 2018. Dionne is a well versed performer, and a formidable vocalist, so when listening to Give Me Vogue, the first thing that stands out is that it doesn’t sound like a debut – and I mean this in the most complimentary sense. Give Me Vogue feels established, self assured and completely authentic to Dionne. The production is immense, carefully considered and vibrant, which is extremely impressive for a self-produced debut. The only telltale sign that this is Dionne’s first solo venture into the limelight is that on Give Me Vogue you feel Dionne bursting to tell her truth, something which she does incredibly beautifully. Give Me Vogue begins with ‘One’, an introspective reflection on a heartbreaking event witnessed worldwide. Despite the melancholic themes, Dionne delivers a message of hope through the track and a reminder to never give up in the face of adversity and sadness. Dionne presents as an exceptionally optimistic performer and so it is a poignant moment of rumination on this EP Following this lament on the past, listeners are quickly and joyously brought back to the present with the eponymous ‘Give Me Vogue’. The track begins by compelling listeners to be in the moment with a literal countdown. This intro appears to sample a space shuttle launch with background calls of “lift off” as the song begins. What follows is part contemporary dance pop, part 2000s throwback with nods to early Rihanna in the upbeat, killer tone as well on the vocal timbre of the verses. In the wake of the pandemic and its consequential excessive isolation and parasocial influences, many of us have been left with a lingering feeling of anxiety, separation and low self-esteem, but on Give Me Vogue, Dionne inspires listeners and brings hope and happiness to the forefront. Quite honestly, It’s a belting tune and is sure to be a fan favourite. On the final track, Golden Boy, Dionne encapsulates the struggle and joys of insecurity; when the path is unclear and you’re free to explore and find yourself. Golden Boy can be summed up with the one line: “you don’t know what the future holds, give everything”. It’s a catchy and soncially brilliant tune with R&B and soul influences delivered through mesmeric and captivating vocals. On this EP, Dionne delivers a powerful story of hope, resilience and giving all you can. View this post on Instagram A post shared by Dionne Douglas (@dionnnnnnnne) Speaking about the EP, Dionne stated: “I wrote what I was feeling most intensely and what I knew needed to be shared. I love reading Edward Enninful’s editor letters in Vogue; his zest for life, boldness and championing of others really resonates with me. This whole EP is me being hype woman to everyone listening including myself; I want to cheer people on and help them find their inner confidence. Give Me Vogue has been a long time in the making and I’m so happy to be finally ready to share it with the world. I’m sure my fans will love it and I hope it connects with new fans who might just need a little inspiration and encouragement in these difficult times!” Give me vogue is a testament to Dionne’s character, it is filled with exuberance, optimism and joy. It’s a rallying cry to embrace the unknown; to move out of ones comfort zone and dive head first into everything. It is only through this process of insecurity that we gain confidence and find out that we are capable of more than we ever imagined! Following the release of this EP, Dionne has created her first ever live event as a solo artist, where she set to perform all tracks from Give Me Vogue. This multi-instrumentalist has already proved herself to be a mightily impressive performer through her work with other musicians, so her first solo live venture is sure to be spectacular! You Might Also Like
NEW SINGLE REMIX – TYSON ‘Promises’ Karen Nyame KG Remix
NEW SINGLE REMIX – TYSON ‘Promises’ Karen Nyame KG Remix Last month, Karen Nyame KG, a luminary in the UK funky house and amapiano scene, dropped her transformative remix of trailblazing TYSON’s “Promises.” 13.12.23 Words by Aude Flanda https://www.youtube.com/watch?v=nbyRRExHixE The original track underwent a metamorphosis under KG’s deft touch, elevating it into a more catchy club-esque banger that blends elements of modern sounds from lively amapiano drum patterns with the slow, soulful essence of the original. Rising artist, KG, aka the “Goddess of Rhythm” has illuminated the dance music scene for almost a decade now and her career – from early tracks like ‘Feeling Funky’, the iconic Boiler room session at Primavera Sound Festival, to becoming a pioneer in the UK funky movement – is marked by perseverance and overcoming barriers like misogynoir and colorism. Noteworthy is her role as production lead for the ‘Normal Not Novelty workshop series’ (NNN), which holds a judgment-free space for women and non-binary folks to learn technical skills in music. KG’s distinct sound, characterized by electronic, R&B and resonant sub-bass, is a vibrant tapestry deeply rooted in the African diaspora and has embraced collabs with the likes of Mista Silva and Scratch DVA across various genres, from South African amapiano to US Jersey Club. ‘Promises rmx’ lives up to this, infusing TYSON’s track with big energy and eclectic vibes. It offers a bittersweet sonic exploration, drawing from TYSON’s reflection into broken promises while embracing a freedom of expression through bouncy percussive elements which mirror life’s ups and downs. Combined with a dreamy ambiance, featuring echoey vocals, it immerses the listener into a world where self-expression converges on a dancefloor filled with dynamic rhythms and melodies. KG mentions the importance of organic connections and synergy in collaborations, claiming that she feels ‘the magic of such relationships can seep through the art they create’. Exemplary of this is the remix, self released by TYSON through her ‘Ladies music pub’ (LMP) label, which not only showcases KG’s production skills but also shines light on her commitment to creating safe spaces for marginalised artists. Inspired by TYSON’s own challenges with discrimination in music, LMP is a community with a mission parallel to KG’s NNN, as it aims to nurture up and coming talent within the realm of women and non-binary individuals. We’re definitely feeling the connection in this track and can’t wait to see more from the duo! View this post on Instagram A post shared by TYSON (@__tyson) You Might Also Like
IN CONVERSATION – L Dot ‘Hoodie SZN’
Photo Credit: Christopher Miller (Instagram: @cam_7th) IN CONVERSATION – L Dot ‘Hoodie SZN’ Hoodie SZN is Tottenham rapper L Dot’s new project, which is being released one track at a time, every Monday, Wednesday and Saturday throughout December. It’s a unique piece of work, covering an incredibly personal range of topics and showcasing her exhilarating talent and versatility. 14.12.23 Words by Paul Bacon Here’s a few problems pulling me down like gravity, 90% of people love my personality, And success comes naturally, So now the 10% are mad at me. L Dot – Capricorn Problems Photo Credit: Christopher Miller (Instagram: @cam_7th) Within about 30 seconds of meeting L Dot, it becomes clear why she’s so easy to like. Her infectious aura is hard to quantify or explain, “I’m used to being the loud person in the room, the animated person and people gravitate towards this energy that I’m giving off,” she says. When we talk, she’s wearing a black hoody, fittingly emblazoned with her Hoodie SZN logo, the hood up over her head and pulled down to just above her eyebrows. I can probably see about two thirds of her face, and most of that is covered by her smile. So what’s with that other 10% of people? “Sometimes when you are accepted by the masses you get this cold energy from a minority group of people,” she explains, “As I’ve got older, I’m less offended by that, but when I was young it was harder to understand.” As I speak to L Dot, she is in the midst of Hoodie SZN, her most ambitious project to date. “Throughout the month of December, I’m releasing high quality new music every Monday, Wednesday and Saturday, all with visuals” she outlines. That’s thirteen tracks dropping across thirty-one days during the twelfth month of twenty twenty-three. Clearly L Dot isn’t using this holiday season to rest, “I want to be able to show people how versatile I am and give them loads of different things but in a way that’s still a cohesive package.” That is exactly what L Dot has achieved with Hoodie SZN, somehow blending a diverse collection of beats, flows and concepts which illustrate her lyrical dexterity, vocal agility and an ability to change mood as quickly as she can change rhythm and genre. From boom bap era sounds, to high tempo grime and reflective R&B, Hoodie SZN has it all, accompanied by slickly produced social media videos. L Dot hails from Tottenham, North London. When it comes to musical heritage, few places can compete with Tottenham’s roster of revered residents; from global superstar Adele to soul singer Lemar, grime legends such as Skepta, JME, Wretch 32 and Chip, and drill icons like Abra Cadabra and Headie One. L Dot says growing up in a place so steeped in musical prestige, particularly with regards to rappers, has had a big impact on her craft, “To have these people to be able to say cool, you look like me and you’re from where I’m from, it makes it seem feasible, doable, attainable, achievable.” L Dot has been immersed in music all her life. She grew up in a musical family, and then spent her school lunchtimes making use of the music department’s studio. She learnt how to use the equipment and recorded songs with her friends, whilst their peers were kicking ball and gossiping in the lunch hall. “We’d be begging the music teacher to let us in the studio for free, we were just broke secondary school kids!” she remembers. Amongst those lunchtime lyricists were Drifty and Chinny, two of L Dot’s long-term friends and collaborators, with whom she combines to form their trio F2D, “Myself and Chinny have always had a little to and fro where if he’s written a verse I’ll be like I need to rewrite mine, then he wants to add a little more pizzazz to his, so we always had that kind of battle of lyricism,” and what about Drifty? “He’s also lethal with the lyrics but he brings a different type of flavour and energy. When you put all that together, it’s a really cool package.” https://www.youtube.com/watch?v=tSNwNdQmsMg Period. Back hurting. Crap mood lurking. Whole womb shredding and they still want me working. L Dot – WomanHood Undeniably, one of the standout tracks on Hoodie SZN is ‘WomanHood’. Initially the beat conjures nostalgia of 2Pac’s ‘Do for love’, but that’s where the familiar feelings end, because this is song like nothing you’ve heard before. To put it simply, it’s about periods. “I want to make things relatable but also unique, and I just thought no one’s rapping about this!” says L Dot explaining her thought process. “We’re going through this every month. We even have female rappers going through this every month and nobody is putting it to a beat.” Using rap to describe the challenges of womanhood is bold, especially considering the particularly paradoxical position women in Hip Hop have often occupied. “For a long time, a female rapper might get to be ‘the one’, maybe there might be two, but you certainly couldn’t pick your top ten. That’s just the way it was,” explains L Dot. Female emcees have actually always been there, from originators like Sha-Rock and Roxanne Shante, through to the 80s with MC Lyte and Queen Latifah, to Lil’ Kim and Lauryn Hill in the 90s, before the likes of Missy Elliott started to become household names. “Now it’s not only Nicki Minaj and Cardi B, there’s so many others like Lola Brooks, Sexy Red and then in the UK we have people like Little Sims, great pen. Women are taking over rap, it’s our time to shine”. This is exciting, particularly in a music landscape shadowed in controversy surrounding gender inequality. Since 2000, only 4 female artists have headlined Glastonbury (one being L Dot’s fellow Tottenham-ite Adele), and other festivals having been criticised for similarly poor track records. But L Dot feels now is a good
NEW SINGLE RELEASE – Supersaurus ‘Platinum Blonde’
NEW SINGLE RELEASE – Supersaurus ‘Platinum Blonde’ Non-binary fronted girl pop band Supersaurus have been collaborating since 2020 to culminate several self-produced ‘sad-pop’ hits. 12.12.23 Words by Georgina Shine https://www.youtube.com/watch?v=aCo3Rg7n99Q Despite their sad-pop association, there is nothing sad about this group as they bring high energy and passion to all of their tracks and their new single Platinum Blonde is no exception. Supersaurus find power and influence in their personal experiences and bring a sense of self to their writing. The group’s ever-expanding catalogue of content is filled with issues that so many people can relate to especially in current times; as they tackle the likes of depression, anxiety, and being part of the LGBTQ+ family/community. Platinum Blonde is the 9th single release from the outfit and is a feel-good fantasy that will take you over. Opening with a drum and bass introduction similar to Duran Duran’s Wild Boys you know you’re in for good vibes and a hit for the ages. There are also riffs and undertones later in the track reminiscent of Queen’s Another One Bites the Dust that add power to the beats and create a sense of familiarity with the track that ingratiates the ears and brain to the band. Despite the lyrical storyline being filled with the characteristic sad pop themes, there’s nothing sad about this hit as its infectious rhythms erupt with all of the good energy. Platinum Blonde is a party track that will get your body moving because it is impossible to stay still when you hear it. With disco grooves and 80’s synth beats the single has a classic ‘old school’ sound whilst also being completely modern and up to date which will cement it within charts and hearts as a timeless classic for years to come. Supersaurus are cementing themselves as a mainstay superpower within the indie-pop scene with tracks that subvert the boundaries of their associate genre and make waves within the music scene as they rewrite the rule book on what we expect from indie-pop and modern-day music as a whole. The way Supersaurus can merge genres and produce a hit which feels familiar and somehow totally brand new and different allows the ability for listeners old and new to interact with the track instantly and form a connection to the single and the band and have you ready for what’s next from this exciting and engaging quartet. You Might Also Like
INTERVIEW – B-ahwe ‘26% MIXTAPE’
B-ahwe by Isla Mcrobbie INTERVIEW – B-ahwe ‘26% MIXTAPE’ Crammed into a small south-east London record store B-ahwe speaks – thanking names to an eager crowd ready to get dancing. 11.12.23 Words by Isla Mcrobbie https://www.youtube.com/watch?v=BqZjXf-lAEQ Emotion is pouring in her voice, this is an album of young adulthood, a project devoted to self enlightenment in her era of take your time, breathe relax – a comment on quarter-life adolescence and the ivory tower every person should take a bathe in. In a world of bombardments of others’ achievements, the now 28-year-old spoke of confronting the societal stigma around achieving things by a certain age. Age is a percentage, not a number. 26% MIXTAPE waters the spirit and nourishes the soul. Free oneself in the language of Jazz, a rich poetic narrative of sitting out and finding solace. Opening the album to a soft drum palate she speaks her first words ‘Take time – time a little to reload’ [Track 1: Reload]. This album is a love letter to young adulthood, ambitions dream-captured in the ever-changing world of fast cityscapes and motorway pavements. B-ahwe is no stranger to poring soul into jazz-inflected new directions, but this album takes the cake. Acting as a blank canvas for her to incorporate influences spanning drum n’ bass, broken beat and alternative hip-hop – the 8-track project spans a story of modern renaissance. You Might Also Like
NEW EP RELEASE – Bel Cobain ‘Radical Forgiveness’
NEW EP RELEASE – Bel Cobain ‘Radical Forgiveness’ Bel Cobain cuts through the noise with her radical energy and vivid storytelling in new EP ‘Radical Forgiveness’ 11.12.23 Words by Amalia Castle https://www.youtube.com/watch?v=WXcMQ7KEX_8 Last week, East London-born singer-songwriter Bel Cobain uncovered her highly anticipated 5-track EP ‘Radical Forgiveness’ , after teasing with the addicting jazz infused drum and bass release ‘Unlikely’ and poignantly honest ballad ‘Pressure to Exist’. Bel Cobain’s sonic evolution, over the past five years, has led her to a place where integrity and consciousness find the perfect solace in her sultry vocals. The rising singer-songwriter has settled into an important seat within the UK’s growing Neo Soul and Jazz scene. Not shying from sometimes uncomfortable, but necessary, social and political truths, Bel’s most recent project is a true testament to her musical progression. ‘Radical Forgiveness’ sees her exploring the sounds of Jazz, R&B and Drum and Bass, while bringing a clarity to her message through her striking vocals and hard-hitting spoken word. This most recent release showcases the 22-year old’s perceptive understanding of not only the world around her, but of those far from her. Having crafted ‘Radical Forgiveness’ between London, Mexico City and Oaxaca at an artist residency, she tells i-D how inspiration spurred from the striking communities she encountered and their untamed creativity. ‘Wordly Bliss (Interlude)’ is an example of Bel’s evolved consciousness, where she dives into a commentary on the copious atrocities taking place in other parts of the world. She questions her own circumstances, in which she is warm and well-fed and she contemplates that with the current state of the world, for many, ignorance appears to be bliss. In the first track ‘Pressure to Exist’, Bel enters with her evocative vocals and keys that ooze a grounded, tender soul. Setting the tone for the EP, she crafts a sense of release and escapism through her expansive melodies. She looks back retrospectively at a breakdown she had in her late teens, recalling her search for answers;“Is this a breakthrough, or is it a breakdown?”. Having spent most of her life in London, Bel recently decided to move away from the chaos of the capital to the Kent coastline, prioritising her connection with nature and spirituality. Her escape to the tranquil pace of the coast shines through in the slow burn of ‘Pressure to Exist’ and track four, ‘Came Over Me’. As ‘Unlikely’ plays, immediately a new story unfolds. Carried by an exhilarating drum and bass rhythm and a jazz-heavy bass, we hear Bel’s haunting vocals deliver the story of a paranormal encounter she had during her time in Mexico. She intertwines her experience with a poignant commentary on the injustices towards Mexico’s own indigenous people as she sings “feeling sorry for my people who got rigged by the systematic default”. At the EP’s half-way point, Bel strips it down with ‘Worldy Bliss (Interlude)’, which intros with a striking, moody bassline and her ghostly distorted vocals. She holds this same enigmatic energy in ‘Came Over Me’, as she speaks closely to the listener. This time however, injecting a sure sensuality into her cadence and painting pictures of lonely late nights calls that often lead to a momentary bliss – whether it’s good for us or not. Bel wants her listeners to know that ‘Radical Forgiveness’ is more than just an EP, it’s a message bigger than her. “I want to make sure that if there’s anything I leave, it’s a clear message for people to wake up, smell the coffee and do something about it. I’m on radical energy,” she tells i-D. Ending the EP on that same high, she finishes on the hopeful, lo-fi dance track, ‘Awakening’ calling listeners to join her on a path to a higher understanding of the world around us. You Might Also Like
NEW SINGLE RELEASE – Gaby K ‘I’m Good’
NEW SINGLE RELEASE – Gaby K ‘I’m Good’ Gaby K falls out of love as her relationship exceeds its expiry date on her relationship in her new single ‘I’m Good’. 07.12.23 Words by Teguan Harris https://www.youtube.com/watch?v=P-oQrZaH_K4 Gaby K has released her innovative new single, ‘I’m Good,’ with exceptional production from musician and producer Jeremy Rompola. ‘I’m Good’ follows the success of her personal and vulnerable single ‘What Have I Done?’, with accolades from Mezmerized Magazine, HOEZINE and more. Gaby K opens up to her listeners in ‘I’m Good’ as she falls out of love and her relationship exceeds its expiry date, running its course. Following the single’s release, Gaby K shares on Wordplay Magazine, “It’s okay to be okay with your decision of leaving someone, it’s okay to be sad about ending a relationship with the individual who you thought was ‘your person’, and it’s okay to feel relief that the relationship has ended and you can thrive as an individual itself.” As heard in her singles such as ‘What Have I Done?,’ Gaby K has a creative way of narrating her experiences through song; not only is this a talent of Gaby K, it is a gift that is difficult to replicate. Gaby K combines her natural and honest storytelling and songwriting gift with her raw and sensual vocals, drawing on her inspirations from Amy Winehouse, Jessie Reyez and Amber Mark. ‘I’m Good’ is a familiar story that not only people heard but experienced more than once, the closure that many people need. The line ‘“Watch me grow, watch me seize it” is the empowering message people need to hear that growing away from your partner is normal and okay. Gaby K announced her EP on her social media titled ‘Get to Love You’, with ‘I’m Good,’ ‘What Have I Done?’ and ‘My Girls’ being the latest singles to feature in the upcoming EP. Set for release on 9th February 2024, listeners of R&B and Soul should run to be the first streamers of her new EP. You Might Also Like
NEW SINGLE RELEASE – Gen And The Degenerates ‘Famous’
NEW SINGLE RELEASE – Gen And The Degenerates ‘Famous’ British alt-punk outfit Gen and the Degenerates have announced their debut record Anti-Fun Propaganda alongside the release of new single ‘Famous’. 07.12.23 Words by Molly Gregson https://www.youtube.com/watch?v=dbGxyWmCQaQ The Degenerates have made a name for themselves on the British post-punk and alternative scene, building an equally raucous, socially conscious and degenerate audience. Now they’re gearing up for their biggest project to date, their debut full length album, Anti-Fun Propaganda out on the 23rd February, and with it they bring the latest in a series of satirical, writhing and explosive singles- ‘Famous’. Gen and the Degenerates may appear to be manifesting further success with their recent single titles – ‘Famous’ follows up the release of similarly titled ‘BIG HIT SINGLE’ – but you only need to hear the opening lines of these amusingly obnoxious titles to see that they are darker diatribes to the culture of celebrity and industry. ‘Famous’, as described by lead singer Genevieve ‘Gen’ Glynne-Reeves (she/they), “is a kind of poison pill disguised as a pop confection. It’s taking a satirical look at celebrity culture, materialism and where we draw our self worth from, but it’s masquerading as a sexy, unrequited love song” The Degenerates have mastered the skill of delivering biting social commentary through vibrant punk anthems, but they also bring two conflicting thematic approaches, a particular warmth that arises out the hedonistic friendship of a band in their early 20s, and a darkness that comes when the vibrance of youth has been corrupted by the fraught nature of contemporary social issues. Gen certainly embodies the fun and ferocity of the band. Their vocals on ‘Famous’, as well as her charismatic performance in its accompanying video make for an enchanting frontperson. But Gen and the Degenerates work as a friendship-driven collective. This social aspect of their music looks to be prominent on Anti-Fun Propaganda, which they have described as “a coming-of-age story seeing the band find out who they are, and what they stand for. Late nights and early mornings, sexuality, gender politics and mortality, all while surviving your twenties in a volatile and confusing world fuelled by turmoil”. Anti-Fun Propaganda will be released on the 23rd February via Marshall Records, produced and recorded by the renowned Ross Orton (Arctic Monkeys, Amyll and the Sniffers, The Kills) You Might Also Like