NEW ALBUM RELEASE – Maisie Peters ‘Good Witch (Deluxe)’
NEW ALBUM RELEASE – Maisie Peters ‘Good Witch (Deluxe)’ 12.11.23 Words by Eve Herzberg Tracks belonging to deluxe album extensions can be tricky creatures. https://www.youtube.com/watch?v=eIm7y6vW9Es&list=PLhMZfq_yW1TT-Qf0GlOIHLyxsVH00a5Wz It’s hard to know what you’re going to get, and there’s always the worry of getting more of the same, without the excitement and quality of the initial album release. But for Peters’ Good Witch (Gingerbread Man Records), the deluxe version holds some of the most powerful potions and pieces. On October 27th, Maisie Peters released 6 new tracks – the same day as Taylor Swift dropped her long-awaited 1989 (Taylor’s Version) re-recording. A brave move? A strategic move? The true mark of a trickster is pulling off both at once , and in the wake of Halloween no less. As her second full album, Good Witch doesn’t necessarily venture into unknown territory. It’s not a rebrand, second albums rarely are. It’s the more intense younger sister of her album “You Signed Up For This”. It has a clearer message. Maisie’s known for her 90s Teenage Dirtbag-esque sound, with lots of girlish angst shaken in there. Think Veronica from Heathers scribbling curses in her diary while wearing a monocle. Her lyrics are very honest. Not in a raw, heart-wrenching way. In a simple, relatable way. Dedicated to the victims of the 21st century inflated male ego. Good Witch has a distinct take on girlhood. Maisie’s coven is not the ring of dark figures, singing ethereal incantations of anger in the woods that you might expect. The coven is just a crowd of young women. Her songs, pure pop joy. She does not scream into the void, she dances in the revelry of kinship born from bad dating experiences. This album is a celebration of the togetherness that comes from girlish wrath. And we, the listener, are her most beloved little witchlings! “Holy Revival” and “Guy on a Horse” are simply ruthless. As the young princess of scream-talk, Peters gives her exes much needed reality checks, and doesn’t hold back. But neither song is about winning some argument over a particular ex-boyfriend, they’re about chanting with her fans about the lessons they’ve all had to learn. “I bet you’re all wondering who Andrew is, and that is really not important, stay with me, it’s what he represents.” She’s having a world of fun being sneaky, twisted and patronising. Impressing us with her sarcastic quips, she opens “Guy on a Horse” with: “Cause I’ve played Wembley Stadium, like, is that hard?”. It’s all very Elle Woods: “What? Like it’s Hard?”. Anderfjärd’s production weaves a metallic quality in these songs, brightening Peters’ words. With light under her lyrics, Peters becomes a mistress of myth and anecdotes. “Yoko” and “The Last One” are her slower songs. They are caught in the epidemic that is crippling nostalgia at the ripe age of 23. And Maisie’s distinctive silvery timber sweeps over the storytelling ever so sweetly. At times these songs sound like you’re hearing them from a friend across the phone, but the phone is made of a beautiful alien precious metal. If you’re listening in order, these last 6 tunes are sarcastic yet sugary continuation, with a just a little extra grit. Maisie can help you find magic and wizardry even as Halloween has faded. For her, it seems it is not in cauldrons and dark woods, but in unadulterated girliness and cheek. You Might Also Like
NEW ALBUM RELEASE – mlbacard¡ ‘I LOVE TO DO MY OWN STUNTS’
NEW ALBUM RELEASE – mlbacard¡ ‘I LOVE TO DO MY OWN STUNTS’ 11.11.23 Words by Kate Carruthers ‘I LOVE TO DO MY OWN STUNTS’ is a gritty salute to adulting—a must-listen for any 20-something navigating the chaos of being 20-something. Packed with rugged character and an unyielding honesty, reminiscent of a contemporary Amy https://youtu.be/pWHvY8SgHR0 mlbacard¡’s debut EP ‘I LOVE TO DO MY OWN STUNTS’ was released last week, offering an unfiltered memoir of a 22-year-old’s leap into adulthood. The record brims with unapologetic honesty, delivered through a voice soaked in smoky charisma—a trait we’ve glimpsed in her earlier singles. The message is clear: we’re all just doing our own stunts. Adulthood is a messy blend of self-discovery, self-destruction, and self-love. Over seven tracks, she sketches out all her adult worries and laughs them off in the same instant. In ‘KETCHUP,’ she dives into the depths of her own struggles, addressing heavy themes like depression and self-sabotage. The juxtaposition of these weighty subjects against the seemingly light-hearted title reflects mlbacard¡’s signature move: blending childlike simplicity with adult narratives. Lines like “Lose yourself to the music // let your mind get lucid. // Everything’s translucent” merge jolly beats with profound lyrics, creating a sound that’s as heavy as it is buoyant. There’s no wonder she’s been pinned as a contemporary Amy. Beyond her vocal nuances, mlbacard¡ brings a fresh approach to songwriting. An honesty that takes you off guard—something obvious in ‘GUINEA PIG’. Her blunt lyrics peel back the layers of societal numbness, revealing the impact of marketing tactics and social pressures. This, paired with a lively tempo, results in a paradoxical combination—dense content that feels as light as a feather, a classic mlbacard¡ manoeuvre. You’ll find yourself dancing around the room to the sound of “just a slut to consumerism”. This album deserves a coveted spot on the playlist of every twenty-something (along with Dolly Alderton’s words and The Devil Wears Prada). In the grand scheme of life, we’re all just doing our own stunts. We’re all figuring it out, guided by the beats of mlbacard¡. You Might Also Like
NEW SINGLE RELEASE – Sophie Faith ‘Freudian Slips’
NEW SINGLE RELEASE – Sophie Faith ‘Freudian Slips’ 11.11.23 Words by Matt Sharp Sophie Faith drops her first single of the year, the soulful gem, ‘Freudian Slips’ https://youtu.be/ZKJ45AyFmbM Sophie Faith has built a name through her stellar vocal performances and mesmericlive shows. Last year saw her reach new heights, with the success of her EP ‘TheRight Side of Wrong’, and her UK tour. The project featured stand-out single ‘HeartOn My Sleeve’, co-written by UK star Stormzy. Her return to releasing is with ‘Freudian Slips’, a delightfully dreamy tale of love.Sophie dissects commonly felt themes of modern love, with her vocal talent shiningbeautifully. Over jazz-infused piano, we hear discussion of toxic attraction andmiscommunication. In the hook we hear stand-out lines such as, “Nine times out of ten I don’t know howI’m going to sleep if I ain’t under your shoulder”. The feeling of a co-dependencyforming as a result of the closeness of a relationship, is something many listenerswill resonate with. This emotion is wonderfully presented, alongside sumptuousharmonies. “The walls are thin up in my house, so I don’t wanna talk about it no more, over thephone”. Another stand-out lyric of the song, this one line manages to masterfullydepicts modern love. ‘Freudian Slips’ provokes visuals in the mind of the listenerthroughout, perhaps most of all during this line. In the world of UK R&B/Soul, there are few artists more captivating than SophieFaith. This sentiment is echoed by publications such as Lyrical Lemonade, GUAPand The Line Of Best Fit. The latter aptly described Sophie as “Fusing thesmokiness of jazz, with 21st century heartbreak.” ‘Freudian Slips’ is the first single from an upcoming EP, with a UK/EU tour in theworks for 2024. A momentum has developed in Sophie Faith’s journey, withdecisions seeming highly deliberate at this stage. The combination of herawe-inspiring talent, and the care being taken in the delivery of her work to heraudience is greatly exciting. It indicates Sophie Faith is well on her way to becominga household name. The arrival of her next EP is a fantastic prospect, as I suspect itwill contain some of her very best work to date. You Might Also Like
NEW EP RELEASE – HotWax ‘Invite me, kindly’
NEW EP RELEASE – HotWax ‘Invite me, kindly’ 10.11.23 Words by Laura Mills HotWax’s ‘Invite me, kindly’ takes you on a journey of rock and rebellion with gritty guitars and vivacious vocals. https://www.youtube.com/watch?v=fPMbvaV7Mxg East Sussex based, teenage punk powerhouses HotWax consisting of members Tallulah Sim-Savage, Lola Sam, and Alfie Sayers have released their second EP ‘Invite me, kindly’. The trio are currently on tour with Royal Blood touring around the United States. HotWax open their EP with ‘High Tea’ a single of clear energy and dominance. The song is centres around pushing away those doubts – no more ‘what if’ or ‘why’ and as those lyrics are belted out by Tallulah Sim-Savage listeners can almost feel hesitation being drawn out of the body and away from our minds. The track starts with choppy riffs guiding us to the chorus as the band give every last drop of energy into their instruments creating a sound that explodes but with a hint sleekness and precision. Organised chaos. Following this powerful single, the next track on the EP is ‘Phone Machine’. It follows the same style of dominance outlined in the first track but the vocals feel less loud and more like a command we’re instructed to do. Through the whole track it’s impossible not to hear a similar sound to one created by Indie Legends Wolf Alice. In a statement vocalist Tallulah said “I felt I had lots of phrases saved up in my head that I couldn’t wait to put into my lyrics. The EP looks at themes of acceptance to people who have hurt you before, letting your doubts leave you and feeling free. Playing these songs live this summer has been so refreshing, I still feel so passionately about a lot of the lyrics, which makes it feel very therapeutic to perform.” The outstanding factor of this bands EP is undoubtedly ‘Drop’. Guided by gruelling guitars and the constant beat of the drums marches listeners to the chorus, the delivery of these powerful vocals alongside the ferocious lyrics reinforces the bands message of sheer anger and enragement as Tallulah lets us have it belting out “Coz you’re angry then you’re not / Then I feel the tension drop / Then I’ll have it all for you /Yeah is that what humans do”.‘E Flat’ and ‘She don’t like it’ are also great additions to this EP showcasing this bands versatility and range with sections that are much softer and slower. Our rock trio are currently enjoying their first ever shows in America supporting Royal Blood on tour and have two solo dates to play once this tour finishes in LA and New York. The band return back to their adoring UK crowds on December the 15th at De La Warr Pavilion in Bexhill-on-Sea. You Might Also Like
FLASHBACK- Wolf Alice ‘ Blush’ (10th Year Anniversary)
FLASHBACK- Wolf Alice ‘ Blush’ (10th Year Anniversary) 03.11.23 Words by Scott Rudd Here’s to the next ten years of Britains current kings and queen of indie https://www.youtube.com/watch?v=O_QBC_pDkeUOn October 7th, 2013, a four-piece indie/alt-rock band hailing from North London, known as Wolf Alice, who’s name was inspired by a short story by the English writer Angela Carter, released their second EP, titled ‘Blush,’ officially marking their debut under the independent label Chess Club. At the time, they had already begun to gain recognition within the indie underground music scene, thanks to endorsements from BBC Radio 1 and NME, who included the band’s song ‘Leaving You’ on their playlists. Subsequently, Wolf Alice would go on to become one of the most beloved bands in the UK, currently active in the music industry. Comprising of drummer Joel Amey, bassist Theo Ellis, lead guitarist Joff Oddie, and singer/guitarist Ellie Rowsell, Wolf Alice has created a remarkable musical journey with their three albums: ‘My Love Is Cool’ (2015), ‘Visions of a Life’ (2017), and their most recent release, ‘Blue Weekend’ (2021). These albums, all released under the Dirty Hit label, have cemented the band’s position as one of the most influential acts in contemporary indie music. Their journey began with the signing to Dirty Hit before releasing their third EP, ‘Beautiful Creatures’ (2014), which served as a pivotal moment in their career. Each of their projects has consistently received critical acclaim and a host of well-deserved accolades. Notably, ‘Blush’ marked the debut where the band’s signature blend of shoegaze, grunge, indie, and alt-rock was first showcased, resulting in immense success. The EP comprises four tracks, each displaying a notable variation in style and genre. However, what ties them together is Rowsell’s elegant, gorgeous, and at times, borderline haunting vocals. Her performances have moments that are nothing short of hypnotic. Take, for example, the opening title track of the project, where Rowsell sings in a melancholic and tender tone, addressing the theme of overcoming barriers to embrace one’s authentic self. The song’s structure begins in a folksy manner, reminiscent of Band of Horses’ iconic song ‘The Funeral,’ before gradually building up to a euphoric shoegaze climax that evokes the sensation of floating through space. The single ‘She,’ featured on the EP, takes a compelling and urgent narrative path, delving into themes of jealousy, rebellion, and loss as it unravels a story of a girl who envies everything about the subject of her song. This track carries a punky quality, with a bridge that seamlessly transitions into elements of shoegaze and folk. It’s a fast-paced and angsty rock song that brims with emotion.On the other hand, ‘Nosedive’ embarks on a more psychedelic journey within the indie genre, exuding an intentional sense of carelessness that sets it apart from the rest of the songs. The refrain, “Who’s there? Who cares?” encapsulates the song’s attitude in a simple yet effective manner. The EP reaches its climax with ’90 Mile Beach,’ a track that gradually builds momentum and concludes in a style reminiscent of Pink Floyd. In the latter half of the song, the entire band goes all out, shredding as if their lives depended on it, leading up to the track’s conclusion. Rowsell’s vocals passionately implore someone to follow through with the plans she has made for their future, repeatedly proclaiming the words “You owe me” during the chorus. The unstructured instrumental arrangement in the second half suggests that her plans have gone awry, and the musical chaos mirrors her frustration with things not going as intended. This sense of disappointment is relatable to many, adding a touch of universality to the song’s themes.Returning to ‘Blush’ after many years has reignited my appreciation for the band. Their music played a pivotal role in my adolescent years, helping me cope with some profoundly challenging times. Witnessing their accomplishments over the past decade is truly inspiring. Regardless of what the future holds for Wolf Alice, they will always hold a special place in my heart. You Might Also Like
New EP release – Florence Arman ‘Love is The Worst’
New EP release – Florence Arman ‘Love is The Worst’ 09.11.23 Words by Céline Galletti If you need a few breakup songs to cry to this fall, singer and songwriter Florence Arman has got you covered https://www.youtube.com/watch?v=aSZQvqKQR_c Her second EP “Love is the worst”, released this October 2023, explores the themes of heartbreak and painful love in a series of romantic soft-pop tracks reminiscent of Billie Eilish and Olivia Rodrigo. A hidden gem of recent pop releases, the EP is composed of 7 tracks offer a bittersweet vision of love. Each song explores the different ways in which love can hurt, going from romantic heartbreak, to impossible crushes, to losing a loved one, to struggling with self-image. However, despite what she claims, the singer is far from disillusioned from love. The soft vocals, the melodic instrumentals and the dreamy tone of the lyrics fabricates a feeling of romanticism that hovers over the album, reminding us that love might be “the worst”, but it is also something we should never let go of. With some personal stories and humour sprinkled here and there, Florence manages to create relatable messages full of vulnerability and self-irony. In the clip of the song “Good Girls”, where she sings about being stuck in a toxic relationship, she is dating a literal trashcan, that ends up cheating on her with another trashcan. In “Friends”, she is overthinking a text to her crush, and ends up panicking and abandoning it. These humorous feel-good tracks are superposed with other more nostalgic pieces, such as the hauntingly beautiful “New Pair of Shoes”, where she mourns a diseased parental figure. Another outstanding factor of the EP is undoubtedly Florence’s angelic voice, whose softness is in direct contrast with some of the harsh truths she is singing about. This dreamy aspect is reinforced by a play with vocal echoes and swirling musical accompaniments of guitar, piano and synthetic music, which creates a delicate and enchanting listening experience. Florence’s performance is even more impressive considering that she only debuted her solo career in 2020. The Austria-based artist comes from a family of British musicians and has previously worked with big names in the international pop scene such as The Kooks, Barns Courtney, Rhys Lewis, G-Flip, Crystal Fighters, and many more. She claims to write her albums as a sort of “self-therapy”, and beautifully mixes poetic melody and existential themes. There’s no doubt: the young artist is particularly promising, and she will keep making a name for herself in the years to come. She is touring this upcoming January 2024 in Europe and will perform in London on January 19th, so don’t miss your chance to listen to her performance live! You can keep in touch with all of her updates at @florence.arman on Instagram. You Might Also Like
NEW SINGLE RELEASE – Divorce ‘Eat My Words’
NEW SINGLE RELEASE – Divorce ‘Eat My Words’ 09.11.23 Words by Lily Cresswell Four-piece Nottingham group Divorce have released their new single Eat My Words, ahead of their UK tour this November https://youtu.be/S0kTWdkeI0g The mellow track signals that we’re entering a more mature and confident era of the band, with the simplicity of the production and arrangement allowing listeners to really wrap their head around the band’s pop-grunge-country sound. Yet, Eat My Words isn’t without emotion. Beginning with a quiet profundity, the song develops into one that is rife with energy that at times bubbles into subdued anger and desperation. This emotion is crafted into a climax two-thirds into the track, before returning to the muted feelings that end poetically unresolved. It’s the emotional energy that really stands out in Eat My Words, but it must be acknowledged that it is the effortless beauty of all the other elements that allows this emotion to sing (…pun intended). The melodious guitar, decorated with country slides, acts as scenery to the vocals, providing it with a perfect background that never once overpowers but gives the listener much depth and tone. Importantly, the guitar licks feel natural and unrehearsed, bringing true authenticity to the recording, the perfect accompaniment to the emotionally raw vocals. Partnered with this is the understated rhythm guitar that creates special moments throughout the track, with distorted chord crunches proceeding its dramatic silence. These moments of emptiness work synergistically with the other layers of the track, adding little pockets of surprise for the listener, encouraging reflection on provocative lyrics such as ‘…baby nothings real underneath’. Eat My Words is an absolute triumph of a single, studded with a real sense of authenticity and certainty that feels like a turning point for the band. Divorce have found their sound, and it shows, with oozing confidence to own this corner of the industry as they continue to grow in their success. You Might Also Like
NEW SINGLE RELEASE – Picture Parlour ‘Judgement Day’
NEW SINGLE RELEASE – Picture Parlour ‘Judgement Day’ 09.11.23 Words by Laura Mills It’s almost impossible to believe that Picture Parlour have only officially released two singles as their sound suggests this is a band with tremendous ability and sheer confidence https://youtu.be/sGgDvXR0094 They’ve supported Bruce Springsteen, played The Great Escape Festival, even bagging themselves a spot of the cover of NME and have just finished playing venues around the country supporting The Last Dinner Party which is rather impressive for a band who only released their first single back in July. Following on from their debut of ‘Norwegian Wood’ a song the band have implied listeners should “Stream it, watch it, cry to it, scream with it, air guitar your way through the damn thing” have now hit us with ‘Judgement Day’ a love letter which is guaranteed to seduce listeners. In a statement the band said “It’s a love letter. It’s about being swept off your feet by someone you never expected to meet and surrendering to that all-consuming feeling. It’s a dramatic statement that on judgement day, at the end of time, you want to stand hand in hand with your lover.” Arguably even better than their debut single, the track starts with a slow tempo instrumental luring listeners in and as we’re presented with Katherine Parlour’s raw, gritty vocals we’re seduced into a trap of our own making but it is so satisfying that we simply submit. It’s interesting to see this band present something slightly different to ‘Norwegian Wood’ in the respect their latest single has lyrics filled with passion and emotion, especially in the chorus ‘You look so divine like death in a lightning strike / Holy water drips down on me / And it tastes just like holy wine / How can I stay on my feet?’ paired with this intense, fiery delivery leave us begging and pleading for more. Likewise, the breakdown section where these powerful guitars are played to create an electricity sound backed by the pounding beat of the drums transports listeners into an extraordinary atmosphere. It’s so clear through this track that their main influences include ‘Humbug’-era Arctic Monkeys and early St. Vincent. The single was produced by multi-award winning producer Catherine Marks who has worked with the likes of Wolf Alice, The Killers and Foals. The band have two dates left to play this year including Pitchfork Festival and Great Escape First Fifty. Their next show in 2024 is alongside Black Honey and Kynsy at Leeds Beckett’s Student Union on 9th of February. You Might Also Like
NEW SINGLE RELEASE – Izzy S.O ‘Would We Make It’
NEW SINGLE RELEASE – Izzy S.O ‘Would We Make It’ 08.11.23 Words by Niamh Noeleen Izzy S.O has recently unveiled the third installment of her 2023 trilogy of singles https://youtu.be/hC8wsp5JIK8 “Would we make it” is a dreamy alt-pop track that lyrically tackles the breakdown of a relationship. Beneath the nostalgic rhythm, the song is emotionally charged by the desperate and honest notion that if you strip back the chaos of the world, the outside problems, then the love between two people might just ‘make it’. Izzy’s artistic journey initially began with poetry, she found solace in transforming her experiences and emotions into a digestible art form. Her talent with the written word carries into her songwriting as she’s able to vividly explore narratives in a remarkably, relatable way for listeners. The transition from writing poetry to writing music occurred during the pandemic, when she started to collaborate with producer Dustin Dooley. Together, they solidified her new and distinct sound, which gracefully straddles the line between pop-rock, alt-pop and indie. In a music landscape saturated with emerging talent, Izzy S.O stands out as a genuine and gifted artist who knows how to deliver emotionally charged, relatable songs. And with her influences rooted in the great female artists of the past such as; Alanis Moissette and Mazy Star, Izzy has managed to offer a fresh perspective as a young female. “Would we make it” undoubtedly serves as a beautiful conclusion to Izzy’s trilogy of singles. With its dreamy alt-pop vibes that somewhat bears the echoes of Avril Lavigne’s evocative sound, the song captivates listeners from the first few notes. Izzy’s poetic prowess shines through, as she weaves a narrative that resonates honestly with genuine emotions and experiences. “Would we make it” as a stand alone track is emotionally and musically full and satisfying but when listened to after its predecessor’s in the trilogy, it expands the artistic experience of the song tenfold. Izzy S.O’s ability to evoke a sense of nostalgia while infusing her sound with a unique contemporary touch is a testament to her musical finesse. “Would We Make It” doesn’t just conclude the trilogy; it leaves the audience eagerly anticipating what’s next in Izzy S.O’s musical journey. And as she continues to make her mark in the music industry, we can only anticipate what remarkable stories and sounds she will share with her ever-growing audience. You Might Also Like
NEW SINGLE RELEASE – beabadoobee ‘A Night To Remember ft. Laufey
NEW SINGLE RELEASE – beabadoobee ‘A Night To Remember ft. Laufey 08.11.23 Words by Genevieve Pughe ‘A Night To Remember’ is one of those tracks that is so good it feels too brief, so you press repeat, and soon after find you have been immersed in it for your entire walk home https://www.youtube.com/watch?v=eif_8yA2WhA When speaking about the track, Laufey described the song as, ‘‘ a true marriage of my and Bea’s sonic worlds’ truly excited about ‘the cinematic sound this song offers.’ When listening to the combination of their styles, you can’t help but share in that excitement, as Bea-bedobee and Laufeys’ voices complement each other surprisingly well, creating a suggestive and smooth harmonic balance. The production is absolutely stunning, featuring moments of isolated vocals and soft hushed tones that enhance the intimate vibe of the acoustic guitar and bossa nova rhythms. The layers are decadent, akin to the feeling of savouring a glass of red wine or rich tiramisu. With each listen new intricate percussion details are revealed, contributing to the overall cinematic atmosphere of the track. The collaboration is truly empowering, with a strong sense of independent femininity which is celebrated in ‘A Night To Remember’. Laufey shared that when writing the song, both art-ists wanted to produce something ‘sexier’ than their usual sound, reflecting on the ‘many songs about being rejected as a woman’ and creating this song to be about ‘the other side of the coin – having one great night then walking away’. This take on casual romance aims to reclaim the narrative, offering a fun and refreshing perspective for many. Beabedobee began recording music in 2017, and at 20 years old boasts an immensely sup-portive and dedicated fanbase. Her nominations for awards like the BRITs Rising Star and the BBC Sound of 2020 demonstrate her meteoric rise in the industry, showing no signs of slowing down. On the other hand, at 24 years old, Laufey has already established herself as a highly respected jazz singer, composer, and multi-instrumentalist. From studying at Berk-lee College of Music, to becoming the most streamed jazz artist on Spotify in 2022, the duo really came together to form a musical powerhouse and possibly one of the best collabora-tions of 2023. The fans are now demanding an entire album of their combined talent; and after admiring this track, I am too. You Might Also Like