New Album Release: Anna Meredith “The End We Start From (Original Motion Picture Soundtrack)”
New Album Release: Anna Meredith “The End We Start From (Original Motion Picture Soundtrack)” Anna Meredith’s original score for the new British film ‘The End We Start From’ is a testament to her ability to transcend genres and create an enticing and intriguing soundscape for film. ‘Waterfall’, embodies the intimate yet large-scale scope that Meredith clearly envisioned for the film. 30.01.24 Words by Nina Napier https://www.youtube.com/watch?v=8GTTEqS9njE The film, which explores the deeply unique experience of motherhood against the backdrop of an environmental crisis, needed a soundtrack that could aptly represent its contrast between both the grand and intimate human experiences. Meredith achieves this with aplomb, utilising electronics and flute to create an airy, flowing sonic landscape that perfectly complements the film’s themes. In ‘Waterfall’, Meredith creates a distinct musical narrative that works in tandem with the film’s storyline. The track generates a celestial, accumulating sensation that subtly alludes to the underlying truth of the situation, instilling a sense of anticipation in the midst of turmoil. Meredith’s choice to focus on a breath-focused sound world is particularly effective in capturing the film’s water connections. The result is a piece of music that feels fluid and alive, mirroring the ever-present threat of the flood waters in the film. The soundtrack showcases Meredith’s wide-ranging musical capabilities, from her work in contemporary classical, techno, art pop and avant-garde rock. Her ability to defy categorisation is evident in every note of ‘Waterfall’, which serves as a compelling preview of what audiences can expect from the rest of the soundtrack. ‘Waterfall’ is a stunning piece of music that captures the essence of ‘The End We Start From’. Anna Meredith has once again demonstrated her ability to create a unique and captivating sound world, providing an immersive and emotionally resonant backdrop to this poignant film. View this post on Instagram A post shared by Anna Meredith (@annahmeredith) You Might Also Like
New Single Releases: SPIDER “daisy chain”
New Single Release: SPIDER “daisy chains” In the ever-evolving landscape of pop music, SPIDER emerges as a formidable and innovative force with her latest single, “daisy chains.” 30.01.24 Words by Noah Cole https://www.youtube.com/watch?v=EofBSuBbbs8 Produced by the grammy-nominated Maths Time Joy and written by the talented Jennifer Irabor, the track is more than just a musical composition; it stands as a sonic manifesto of empowerment and defiance. As a multifaceted artist, SPIDER has been recognised as a thrilling and refreshingly left-field voice in pop, as noted by The Observer. Her artistic journey is marked by a fearless exploration of unconventional themes and an unapologetic approach to storytelling. “daisy chains” exemplifies her commitment to pushing the boundaries of pop music, offering a cathartic anthem that resonates with authenticity. The collaboration with Maths Time Joy, known for his dynamic and genre-defying production style, elevates “daisy chains” to new sonic heights. The marriage of SPIDER’s distinctive vocals with Joy’s innovative production results in a track that not only challenges the status quo but also sets a new standard for contemporary pop. The track itself is a cathartic anthem, blending scuzzy guitars with a massive chorus, and explores the theme of reclaiming agency in the face of discomfort. Jennifer Irabor’s lyrical prowess shines through in the song’s exploration of the “Unholy Trinity of Young Adulthood,” touching on themes of sex and objectification against a visual backdrop that is both evocative and thought-provoking. SPIDER’s lyrical directness is matched by the expansive musicality of the track, creating a visceral experience that reflects her journey from the Dublin suburbs to the vibrant music scene of London. Her eight-legged alias, drawn from African spirituality, symbolises strong feminine energy and the belief in weaving one’s own destiny. With a background marked by defiance against restrictions and an unapologetic attitude, SPIDER’s music is a testament to her wit, empathy, and occasional rage. Additionally, the lyrics of the single reveal a powerful narrative, addressing uncomfortable experiences and the refusal to conform. The chorus, with its forceful lines like “Hold the applause, Hold the curtain, it’s not over,” underscores a determination to stand tall and assert control over your own narrative. SPIDER’s voice resonates with authenticity, proving to be a refreshing perspective in the pop landscape. As SPIDER gears up for her first headline show at London’s Camden Assembly on March 20th and the release of her EP, “an object of desire,” the anticipation for more from this rising star is palpable. “daisy chains” is not just a song; it’s a fearless manifesto that invites listeners into SPIDER’s vivid world of unapologetic self-expression and resilience. View this post on Instagram A post shared by SPIDER (@yourgirlspider) You Might Also Like
New Single Release: Alice Shone “Blame The Moon”
New Single Release: Alice Shone “Blame The Moon” ‘Blame The Moon’ is your new companion on lonely nights. It’s Sad Girl Hour. Cue Alice Shone. 29.01.24 Words by Kate Carruthers https://www.youtube.com/watch?v=NRxq2Ky36aE I hated Fresher’s week. An army of eighteen-year-olds packs up their duvets and newly purchased toasters to begin the ‘best year of their lives’. A week-long holiday, full of clubbing, activities, and chugging VKs. But there’s a catch—you have no friends to share it with. So, while you’re forced into a whirlwind of relentless socialising, you’re bound to spend your Wednesday night crying alone in your bed. Trapped between four unfamiliar walls, with four unfamiliar people. ‘These should be the best days of my life—but why does it feel like the worst?’. Alice Shone, a nineteen-year-old artist, has captured the feeling perfectly. Her latest single, Blame the Moon, unfolds within the backdrop of her first-year bedroom. Adrift in a flat with strangers and miles away from home, she turns to the moon on lonely nights, portraying it as a familiar, comforting face. A face she can depend on. Despite delving into themes of loneliness, Blame the Moon emanates a surprising sense of reassurance. Shone’s lilting guitar, tender lyrics, and soft vocal tone coalesce to create something rather uplifting. As if she’s acknowledging the transient nature of these overwhelming emotions. Blame the Moon rests very neatly in the bedroom-pop-verse. A musical cosmos big with teenagers—particularly girls—and invisible to anyone over 25. She’s perfected the intimate, dreamy ambience without tipping into lift music territory. The familiarity embedded in her sound is precisely what the song seeks and ultimately achieves. My first year was soundtracked by Morrisey’s moody lyrics and Marr’s bright guitars. The Smiths provided a liberating escape for miserable British teens, challenging staid ways to think, look and dress. Today, first-year students find their soundtrack in bedroom pop—a genre providing a unique form of liberation. The imperfections of homemade tracks and delicate aesthetics create nostalgic and romantic narratives that captivate listeners, allowing them to lose themselves in its stories. So, if you’re suffering from fresher’s week loneliness, take solace in Alice. Don’t panic, it’ll pass. These will be the best years of your life. View this post on Instagram A post shared by alice shone (@alicemusicx) You Might Also Like Uncategorised
New Single Release: Tonia “I Kind Of Liked It”
New Single Release: Tonia “I Kind Of Liked It” I first heard Tonia’s voice covering Comedown by Joesef, a tender song depicting regrets from a break-up. This track is a favourite of mine, but Tonia’s emotive rendition assuredly showed off her effortless voice as she sang the introspective lyrics authentically, so naturally I was hooked. 29.01.24 Words by Georgina Walker https://www.youtube.com/watch?v=CJz363cmIrM Delving into Tonia’s music, EP ‘Afloat’ was released last year, sharing intimate thoughtsruminating on romantic situations both playfully and more pensively on tracks like ‘Afloat’ where Tonia grapples with ending a relationship that isn’t working. After the last chorus Tonia repeats ‘I tried to keep us afloat, but I need to be alone’, with heavier drums in contrast to a brighter sounding chorus, creating a perfect melancholic moment in the finale of the song. Tonia’s latest single ‘I Kind of Liked It’ features lyrics about the satisfying feeling of gettingover someone and channeling that energy back into yourself ‘I do it for myself now you’ve lost control’. The playful presence is there in this track again as Tonia is joined by multiple singers on the chorus and outro of the song, evoking a feel of camaraderie as Tonia decidedly moves on, but with no bad vibes with the sweetly sung outro ‘And I heard your song, and I kind of liked it too’. Sounds of alternative, dreamy pop and neo soul across Tonia’s tracks make sense as a modern-day interpretation of her influences. In a Selector Radio interview, Tonia reveals thatgrowing up she listened to a lot of jazz as well as iconic pop songs, and mentioned Lianne La Havas as early on inspiration in her songwriting. These influences are evident both in the production and lyrics of Tonia’s songs, combined with her silky yet stand-out vocal makes Tonia an exciting artist to watch out for. Tonia is an artist/singer -songwriter currently based in Liverpool, with a second EP out this April. You can catch Tonia supporting Say She She this March across multiple dates in the UK. View this post on Instagram A post shared by tonia (@heyitstonez) You Might Also Like Uncategorised
New Single Release: Tara Lily “6 Feet Down”
New Single Release: Tara Lily “6 Feet Down” ‘Songwriting extraordanaire’, Ellie Bleach, evokes a nostalgia beyond her years with her mesmerising vocals and refreshing authenticity in new track, ‘Whole Lotta Nothing’. 25.01.24 Words by Hannah Fitzhugh https://www.youtube.com/watch?v=h10uNvD5DTE Devastating and satire, Ellies cut-throat lyricism provides a one of a kind listening experience and enticing narrative to her music. ‘Whole Lotta Nothing’ uses humour and wit to perfectly depict the numbness that comes with forcing connections and feeling leftvoid of emotion after being hurt. Taking big risks- but ultimately pulling of her unique sound seamlessly, the up-and-coming alt-pop singer combines influences from artists such as Fiona Apple with jazz andcabaret style, saxophone instrumentals. This mix of nots to old school musical theatrewith witty, anecdotal prose is what gives Bleach’s identity that distinct edge. Despitetaking influence from different genres and eras of music, Ellie’s sound maintains anoriginality that is special and rare; making it impossible to look away. ’I felt nothing punching numbers in his phone, nothing, when he asked to take me home.’Exploring themes of cynicism and loneliness, with frank references to modern dating,’Whole Lotta Nothing’ is both comedic and painfully relatable. Turning more inwardtowards the mid-section of the track, the artist leans into the pressures of society andself-criticism; ‘Please don’t leave me alone with me. She won’t stop telling me lovesgonna come when you least expect it so don’t leave the house without looking splendid.Nothing comes to girls who sit and yearn.’ On the new track, the Essex born artist says, ‘I wanted ‘Whole Lotta Nothing’ to soundlike a dive bar at 3 am as if the narrator is singing to an empty room besides the janitorand barkeep,’ and she’s certainly achieved that. With a brand new EP set to be releasedand a tour this spring, Bleach is certainly one to keep your eyes peeled for. View this post on Instagram A post shared by Ellie Bleach (@ellie_bleach) You Might Also Like Uncategorised
New Single Release: Annika Kilkenny “Tunnel Vision”
New Single Release: Annika Kilkenny “Tunnel Vision” Irish-born singer-songwriter Annika Kilkenny released a new single on January 19 this year, tilted Tunnel Vision. 26.01.24 Words by Sophie Prior https://www.youtube.com/watch?v=b0SOz-8bAC4 Despite having nearly 60,000 monthly listeners on Spotify, Tunnel Vision marks one of only four official single releases. An impressive amount for a small discography! What makes her listeners come back for a second listen, then? Kilkenny’s lyricism is special. Her previous singles – Look Mom I Made It, Taken Out By The Wind, and The Middle – tell tales of self-acceptance and personal growth, and Tunnel Vision is no exception to this kind of writing. With lyrics such as ‘’I built a bridge just to look at it’’, ‘‘I’m a fighter, but I’m sure as hell not a good one’’, and ‘’now I’m just a stack of bones, with an elemental enemy to fight’’, ‘‘I’m not me when I’m nervous, God damn I rehearsed this’’, and ‘’I barely feel like a person, or always falling short of one’’, Kilkenny recounts the kind of anxious spiral we can (often) find ourselves in when we’re in the dreaded tunnel-vision-frame-of-mind. The song, sort of being used as a diary, feels like a confessional preface to Look Mom I Made It: the latter being a kind of antidote to the former. Musically, Tunnel Vision is a soft blend of indie-folk with a hint of classical influences too. Kilkenny’s gentle vocals are accompanied by mellow chords on the piano and the occasional violin or two adds to the overall cosy feeling. Her music is reminiscent of Lizzy McAlpine, Laufey, and Emily Bear, all artists which Kilkenny has stated inspire her creatively. If four singles aren’t enough (which I don’t think it is!) Kilkenny can be found on social media posting snippets of new songs and compositions – to tide us over while we wait for a debut EP or album. View this post on Instagram A post shared by Annika Kilkenny (@annika.kilkenny) You Might Also Like
New Single Release: Ellie Bleach “Whole Lotta Nothing”
New Single Release: Ellie Bleach “Whole Lotta Nothing” ‘Songwriting extraordanaire’, Ellie Bleach, evokes a nostalgia beyond her years with her mesmerising vocals and refreshing authenticity in new track, ‘Whole Lotta Nothing’. 25.01.24 Words by Hannah Fitzhugh https://www.youtube.com/watch?v=h10uNvD5DTE Devastating and satire, Ellies cut-throat lyricism provides a one of a kind listening experience and enticing narrative to her music. ‘Whole Lotta Nothing’ uses humour and wit to perfectly depict the numbness that comes with forcing connections and feeling leftvoid of emotion after being hurt. Taking big risks- but ultimately pulling of her unique sound seamlessly, the up-and-coming alt-pop singer combines influences from artists such as Fiona Apple with jazz andcabaret style, saxophone instrumentals. This mix of nots to old school musical theatrewith witty, anecdotal prose is what gives Bleach’s identity that distinct edge. Despitetaking influence from different genres and eras of music, Ellie’s sound maintains anoriginality that is special and rare; making it impossible to look away. ’I felt nothing punching numbers in his phone, nothing, when he asked to take me home.’Exploring themes of cynicism and loneliness, with frank references to modern dating,’Whole Lotta Nothing’ is both comedic and painfully relatable. Turning more inwardtowards the mid-section of the track, the artist leans into the pressures of society andself-criticism; ‘Please don’t leave me alone with me. She won’t stop telling me lovesgonna come when you least expect it so don’t leave the house without looking splendid.Nothing comes to girls who sit and yearn.’ On the new track, the Essex born artist says, ‘I wanted ‘Whole Lotta Nothing’ to soundlike a dive bar at 3 am as if the narrator is singing to an empty room besides the janitorand barkeep,’ and she’s certainly achieved that. With a brand new EP set to be releasedand a tour this spring, Bleach is certainly one to keep your eyes peeled for. View this post on Instagram A post shared by Ellie Bleach (@ellie_bleach) You Might Also Like New Releases
New Single Release: Cristina Hart “Like My Father”
New Single Release: Cristina Hart “Like My Father” A radiant and melancholic exploration of paternal abandonment, and the effects this can have on attachments in later life. 25.01.24 Words by Clara Denise Brown https://www.youtube.com/watch?v=ZKLO-n2ZZss On January 25th Cristina Hart will release her touching new single ‘Like My Father’, which takes on themes of abandonment, trust and insecurity. Cristina’s angsty pop sound has seen huge recognition over the last few years, featuring countless times on BBC Introducing and gaining over 328 thousand streams on Spotify in 2023 alone. This new single marks her first of 2024, and hopefully there will be many more to follow. The lyrics are what first captivated me when I listened to ‘Like My Father’, as they have depth and vulnerability which can be felt through the powerful indie pop vocals. I admire the decision to elect a personal experience of this nature and express it in words, as it will undoubtedly resonate with many people listening. The single has melancholy and relatability, which shines a light on low self-esteem in relationships and delves into the root cause. There is a real essence of emotion that can be heard in the cadence of the choruses, representing the fluctuating stages of heartache. The instrumental of ‘Like My Father’ establishes a radiant pop euphony which acts as the perfect backdrop for Cristina’s vocal performance, ultimately letting her story take centre stage. If you are a fan of the likes of Devon Gabriella or Kenzie Cait then you will love this new track by Cristina Hart, as well as her entire discography thus far. You can pre-save the single before its release on the 25th of January, and you can also follow Cristina on her popular TikTok account for pre-release teasers and updates. View this post on Instagram A post shared by cristina hart (@iamcristinahart) You Might Also Like New Releases, Single
New Single Release: Powerplant & Lauren Auder “Ride”
New Single Release: Powerplant & Lauren Auder “Ride” Powerplant and Lauren Auder’s rendition of Lana Del Rey’s acclaimed track ‘Ride’ is a mesmerising 4-minute rollercoaster that skillfully flips the 60s pop gem into a gorgeously sinister rollercoaster ride. 24.01.24 Words by Matilda Stokes https://www.youtube.com/watch?v=1r78-lXfoIA Compared with Powerplant’s electronic indie rock style depicted in their 2019 album ‘People in the Sun,’ the addition of Lauren Auder’s haunting vocals coats an alluring mischievousness to the entire track. It’s all a tickle-off-kilter in a neatly unhinged way. ‘Ride’ lyrically delves into the despair and release offered by the abyss or the ‘ride,’ this cover ramps it up a notch, with a dark intensity from the distorted guitars and crunchy, intimate vocals, coupled with Powerplant’s signature indie touch. The cyclical tension and release are palpable, with verses offering deep breaths before the chorus storms; punchy, hammer-it-home drums and tightly layered vocals, create an aurally tight squeeze. The crowning jewel croaks in at 0:51 with a dainty frog sound, painting a picture of serenity in solitude before the drums and guitar burst in at full force. This symphony of sonic transformation casts a spell over the listener, immersing them in a musical world of enchanting despair and exhilaration. In conclusion, this musical journey captivates, offering an enchanting exploration of emotions. To experience the magic, listeners can find it on Spotify or Bandcamp. View this post on Instagram A post shared by Powerplant (@powerplantxx) You Might Also Like New Releases, Single
New Single Release: Dana Gavanski ‘How To Feel Uncomfortable’
New Single Release: Dana Gavanski ‘How To Feel Uncomfortable’ Dana Gavanski inspires and enthrals, both on her latest single How To Feel Uncomfortable and in its accompanying video, directed by Ella Margolin. 23.01.24 Words by Becca Child https://www.youtube.com/watch?v=HmT5SrNNEZM The Vancouver-born artist demands our attention with her uncanny visuals for the music video and her how to guide for feeling uncomfortable and why it’s a state we should actively seek out. Following two critically acclaimed albums as well as headline tours around the UK, Europe, and North America, the track is one off her upcoming third album, LATE SLAP, out 5th April 2024. Dana identifies Susan Sontag as an influence for both the song and LATE SLAP itself, referencing Sontag’s Regarding the Pain of Others (2003) in relation to her vision for the project: “It is passivity that dulls feeling. The states described as apathy, moral or emotional anesthesia, are full of feelings; the feelings are rage and frustration”. You can really feel the presence of Sontag’s ideas within the lyrics of the track as Dana fights against desensitisation and passivity: “I want to take my time / Plain to see the things that don’t / Make my morning bright” and warns us of the way overexposure to the Internet and social media can result in this passivity: “Stand too close / Face in your phone / It’s scrambling your mind / Tired of your zombie glow/ Soaking up your eyes”. The track’s video presents a series of uncomfortable yet energetic scenes: Dana with her blacked-out eyes in a full bathtub fully dressed in garments of lace and wool, a foot with tights and high heels on submerging itself into murky waters, Dana filmed from behind, running as if chased, lit by an ominous red light. In the spirit of the song, whilst these actions appear uncomfortable or unnatural, they are also confident, bursting with intent and vigour, and still intriguing and enticing. Here we see and hear Dana “full of feelings” and with her arms wide, ready to embrace anything and everything, Ultimately, to be alive is to be uncomfortable and to be uncomfortable is to be alive; the two states are inextricably linked and, as Sontag notes, “it is passivity that dulls feeling”. To feel anything is to feel alive, is to be uncomfortable. View this post on Instagram A post shared by Dana Gavanski (@danagavanski) You Might Also Like