New Single Release: Lola Young “Wish You Were Dead”
New Single Release: Lola Young “Wish You Were Dead” The new single, “Wish You Were Dead,” by Lola Young, is filled with authenticity, delivering a captivating dynamic performance featuring strong vocals and instrumentation. 23.01.24 Words by Genevieve Pughe https://www.youtube.com/watch?v=TtqETmD-kEU Both humorous and hard hitting, the lyricism exhibits charismatic honesty which carries throughout the refreshing release. Young explains that the song was ‘a song to help [her] process an abusive and at times toxic relationship [she] experienced, even though at times [she] felt trapped, it’s about loving a person regardless of thefact they are hurting you.’ The writing skillfully reflects love amidst toxicity, with the sweetness in her voicesprinkled at the end of the verses, only to be taken over by the contagious rage of the chorus. The chorus is highly intoxicating, with its production build-up matching the powerful ascent of Young’s voice. Her talent is evident in every release, firmlyestablishing as an artist with a powerful voice and distinctive personal style. Lola is no stranger to dynamic and unique singles, with her previous single ‘Conceited’ being a perfect example of when unusual rhythmic instrumentation harmonises with purposefully accentuated vocals to create an infectious sound. In2023 Lola Young went viral for her widely-praised hit, ‘Don’t Hate Me’ which was definitely an anthem of the year for many. If that isn’t enough to entice you, then the stunning ‘Pretty In Pink’ is sure to convince you why Lola deserves a spot in your regular rotation. The candid ballad echoes sincerity through its sweet harmonies, and the climax in the last minute is one you can truly sink into. Lola is unquestionably one to watch in 2024, and she just so happens to be touringsoon across Europe and the US. If you haven’t sought out tickets yet, I would highlyencourage you to do so, as the opportunity to witness her powerful performanceslive is one you won’t want to miss. View this post on Instagram A post shared by 𝕿𝖍𝖊𝖊 𝕷𝖔𝖑𝖆 𝖄𝖔𝖚𝖓𝖌 (@lolayounggg) You Might Also Like Lola Young Genre: Exposure: Location(s):
New Single Release: Gia Lily “28th of Never”
New Single Release: Gia Lily “28th of Never” The song for the perfect date for the one you DON’T rate. 15.01.24 Words by Harvey John https://www.youtube.com/watch?v=tcdH6woHrN0 I’ve never been harassed at a bar, not in the way I know many of my female friends and partners have been. I’m sure we all know what it looks like, or the very least have seen one part of it take place. It can’t feel safe when a stranger approach you, one who’s probably twice your size or at least twice your weight, whom you had no interactions with and who treats you as nothing more than an object that pleases their gaze. An object which they only want to take to their bed. An object they don’t see as a person. Gia Lily, an up and comer on the London scene, has managed to capture this sort of horrible kind of creature, pretending to be a man whilst acting like a child, and giving him the verbal backtalk we all wish we could hear. Best of all, she does to a playful song with the date set for every sort that makes this approach. It’ll happen, she promises, on the 28th – The 28th of Never. From the moment this song starts with that repetitive low base you can see it in your mind – the club, the man, the girl with the drinks alone and vulnerable. Until! Lily gives power to the powerless in that situation by reminding those listening that standing up for yourself is always a good thing. And sometimes a good verbal thrashing is deserved, the chorus repeats and its stronger each time. There’s an assurance that their words are so clever, so disarming, that they can strike a deadly wound. View this post on Instagram A post shared by GIA LILY. (@gia.lily) More than anything in this song is the tone – it isn’t full of anger or malice. Its upbeat and playful. And why shouldn’t it be? Going out should be a fun experience, and Lily’s song makes that clear. She’s a fantastic voice to listen to, certainty someone who will quickly make a name for themselves. Lily, a British-Italian artist, has previously made it clear that her songs are about empowerment and that certainly feels true when you listen to 28th of November. Her main chorus, tied playfully to the backing tune of drums and guitar, takes the usual requests of these drunk approachers, borderline predators really, and wittily responds. Her number? ’07 never gonna happen’. Her name? Sure! ‘It’s G I ain’t gonna see you again’. When will you see each other next? Gia knows a GREAT place, ‘it’s down on no way’. Lily makes it clear; girls are not in clubs to be objectified by drunk morons six pints in and ten minutes from being escorted out by bouncers for bad behaviour. They’re there to have fun, not to be harassed by boys, not MEN, boys with ‘bad chat and worse tattoos’. It’s a bop song, well written and catchy and makes you want to get up on your feet and dance with confidence – no f’s given about who might be watching, cause the next time you’ll see them is the 28th of Never! Lily has recently had her song played on BBC Radio. Her songs can be found on Spotify, Amazon music and Apple music. Her latest single, ‘28th of Never’ is available now to stream. You Might Also Like
NEW SINGLE RELEASE – PROJECTOR ‘Dubious Goals Committee’
NEW SINGLE RELEASE – PROJECTOR ‘Dubious Goals Committee’ “This is the truth, I’m not feeling to proud” starts vocalist Edward Ensbury on Projector’s latest track, “Dubious Goals Committee.” 08.01.24 Words by Ricardo Labrada https://www.youtube.com/watch?v=vAnjtj5gE6k It is a classic raw rock track in the simplest terms with lyrics reminiscent of grunge angst and a lot of noise to exaggerate the feeling. The song is the latest single for their debut album “Now When We Talk It’s Violence” and serves its purpose exceptionally well garnering much interest in me. A simple guitar riff and bass line make up the beginning and body of the track which, while simple and work in the context of the track. This simplest is mixed with the quiet verse, loud chorus popularised in the 90s. It is a very effective tool as the chorus is so attention grabbing and explosive you have to focus on it. The Brighton trio has been described as a mix between My Bloody Valentine and the Pixies. While these comparisons are valid, personally I’m reminded of 90’s alternative act Sonic Youth. The whole aesthetic of the group reminds of that raw and gritty sound Kim Gordon and Co. had in their heyday. The ability to switch from bassist Lucy Sheehan to guitarist Ensbury on vocals or harmonise allow for different sounds on each track I have heard so far. The harmonising in particular is a favourite part of mine especially on this track, as Sheehan has a fantastic voice. The group is making some waves at the moment as they already have twenty thousand monthly listeners on Spotify. This latest song will continue that trend as its rock elements make it a quick fun listen at less than 2 minutes and 15 seconds. “Dubious Goals Committee” is currently on Spotify’s New Music Friday UK playlist further boosting a growing audience for the group. After listening to the tracks I can say I will join in the fun. They’re an enjoyable band with an intriguing sound I haven’t heard in a while. I genuinely am looking forward to hearing more as I go through their older material to find other possible gems. View this post on Instagram A post shared by PROJECTOR (@projectorprojector) You Might Also Like
NEW SINGLE RELEASE – Cosmic Strip ‘Another Day’
NEW SINGLE RELEASE – Cosmic Strip ‘Another Day’ Cosmic Strip has returned to the alt-rock music scene with force after releasing their latest single ‘Another Day’, ending their five-year hiatus. 21.12.23 Words by Hannah Bentley https://www.youtube.com/watch?v=JfenIdCZJS8 The London-based indie rock project was founded in 2015 by the lead singer Camella Agabaylan. The French-English artist described her style as “French. Goth. Punk.” during an interview with Fred Perry magazine, which has certainly influenced the band’s aesthetic. Their Instagram account features black and white images of Agabaylan stylishly smoking a cigarette and moody portraits of the singer distorted by light reflections. She’s a fan of Lana Del Rey and credits Elliott Smith for guiding her musical self-expression. ‘Another Day’ provokes an uplifting sense of nostalgia with its youthful sound. The single would be right at home in a 90s coming-of-age soundtrack. Agabaylan explains how the song reminisces on her past: “The track is a celebration of the friendships I had while hanging out in Hastings. It remembers the good times, reflects on how these friendships inevitably drift apart, and mourns those that we have lost along the way. The lyrics are me imagining what it would be like if I were no longer around, and about the memories that I hope we can hold onto.” Compared to the band’s earlier work, which relays a calmer psychedelic sense of musicality, this song accesses that same dreamy, atmospheric landscape in a different way. In ‘Another Day’, Cosmic Strip have leaned further into elements of the rock genre through loud drums and big guitar. Despite being overly formulaic, the soft vocals of Agabaylan juxtaposing the grungy guitar chords and heavy drums produces a hazy, almost ethereal sound. This is disrupted at the end with a final crescendo where the track takes an animalistic turn. The singer lets loose and shouts into the microphone as the guitar and drums swell with intensity, presenting the listener with the perfect opportunity to aggressively play their air guitar. Cosmic Strip recently played a successful show at The Lexington in Angel, with their next live performance yet to be announced. You Might Also Like
NEW SINGLE RELEASE – Eaves Wilder ‘She’s So High’
NEW SINGLE RELEASE – Eaves Wilder ‘She’s So High’ Like most people with working eyes and ears Eaves Wilder is a fan of Damon Albarn so much so that she released a cover of Blur’s 1991 song ’She’s So High’. 20.12.23 Words by Caitlin Taylor https://www.youtube.com/watch?v=7kP1OO6BswU It’s something that she’s been performing for a while and describes it as “one of my fav songs on one of my fav albums by one of my fav bands”. It’s a fitting cover of an iconic song and Wilder certainly leaves her own mark. Wilder approaches the song differently to Albarn who talk-sings his way through most of the original in his accent heavy, rough but captivating tone. Her vocals are much more whimsical, as she explains to The Line of Best Fit “I always find myself singing along with Damon an octave up, so I’ve left space in this mix for his part when he stops ignoring my letters and duets with me”. Her voice is undeniably youthful but with a grungy edge that stops her from sounding inexperienced or childlike, something she’s mentioned she was critiqued for in the past by judgemental peers. She wants her music to speak to young girls without making them feel sexualised and you wouldn’t expect any less from Caitlin Moran’s daughter. Her delicate vocals take inspiration from other iconic female musicians such as Bikini Kill and Le Tigre’s Kathleen Hanna who Wilder claims “changed everything”, again to The Line of Best Fit: “It was so subversive how she was saying these really dark and aggressive things but like a cutesy little girl”. She recently headlined Five Day Forecast at The Lexington and in May of next year will be playing The Great Escape festival in Brighton, fittingly named after Blur’s fourth album. We’re sure she’ll have some more gigs coming up soon so keep an eye on her Instagram (@eaveswilder) and in the meantime listen to some of her original songs to hear some honest and truly vulnerable songwriting. You Might Also Like
Gen and the Degenerates
Gen and the Degenerates Genre: Alt Rock, Punk Rock Exposure: On the Rise Location(s): Merseyside https://www.youtube.com/watch?v=dbGxyWmCQaQ 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
OCTOBER SINGLE RELEASE – Fräulein ‘The Last Drop’
OCTOBER SINGLE RELEASE – Fräulein ‘The Last Drop’ 28.11.23 Words by Jasmine Siefert Off the back of the release of their EP ‘Pedestal’ in June, London-based duo Fräulein guide us through an intense, grungy whirlwind of exasperation in their latest single, ‘The Last Drop’. https://www.youtube.com/watch?v=eFJDV41z9Ks Self-described as a labour of ‘love’, ‘frustration’ and ‘fun’, the single captures that feeling of reaching an emotional limit in an attempt to stifle the confusing feelings of uncertainty during a tumultuous transitional period. After a short, abrupt, and bold initial guitar riff, Joni jumps into the first verse assertively, stating she is ‘done’, and that acting “natural” is merely a “uniform” she is sick of wearing. Paired with the rumbling drumbeat from Karsten, the duo perfectly cultivate an atmosphere of chaos and urgency which is sustained throughout the track. Mimicking the same fluctuations of a body of water, Joni’s pitch descends on the final word of each line in the first half of the chorus, then ascends in the second, like an incessant whirling or an unpredictable ebb and flow. Paired with the repeated mentions of ‘drowning’ it out and ‘shoving it down’, the chorus builds up this sense of pressure, and adds to this reflection of an entrapment within the self-destructive suppression of emotions which provides relief only in the short-term. Still, closing each chorus is the affirmation that Joni is ‘down to the very last drop’, with a brief pause preceding each mention of the word ‘drop’. The added emphasis suggests that this is the storm before the calm; the cycle cannot continue anymore and a breaking point is imminent. Following their string of shows supporting Big Joanie on their European tour, you can next catch Fräulein live supporting Baba Ali at Corsica Studios on December 7th. While ‘The Last Drop’ may tackle those feelings of being entirely ‘done’ and exhausted with daily pressures, rest assured this is still only the beginning of a very exciting future for Fräulein. You Might Also Like
ALBUM FLASHBACK – Bleach Lab’s Lost In A Rush Of Emptiness is Better Together
ALBUM FLASHBACK – Bleach Lab’s Lost In A Rush Of Emptiness is Better Together 22.11.23 Words by Sophie Abbott The South London four-piece brings their tour to an ethereal end at Scala https://www.youtube.com/watch?v=__dXNAYL7vE Two months ago, Bleach Lab (comprised of vocalist Jenna Kyle, guitarist Louis Takooree, bassist Frank Wates, and drummer Sean Courtney), released the 43 minutes of glimmering dream pop otherwise known as Lost In A Rush Of Emptiness. The debut album is sonically nebulous and cinematic, grounded by lyrics and references that make it undeniably human—nods to Bruce Springsteen, Say Anything, and a posthumous Leonard Cohen collection are made without pretension; simple refrains like “Please leave the light on / If you care” and “Life gets better” define its ability to capture the timeless, universal ache of early adulthood. It’s a record you wish you could give to your younger, freshly-heartbroken self, the one with all those overwhelming feelings they can’t quite name. “If only they could remake The Perks of Being a Wallflower with one of our songs playing during the tunnel scene,” the band jokes, “Really, any type of coming of age or self-discovery film would be incredible.” It’s a cold, gray November night in London. Scala, the historic cinema-turned-music venue positioned across from King’s Cross Station, has a capacity of 800 people and houses Bleach Lab’s largest show to date. Tonight is also the final stop on their Lost In A Rush Of Emptiness tour. Openers absolutely anything and Wings of Desire have warmed up the steadily-growing crowd, the stage awash in red fluorescents and anticipation. The band’s signature symbol—a bouquet of wildflowers—has been brought to life, with flowers tied to the mic stand, drum kit, and speakers. The man beside me checks Setlist.fm; a group of girls to my right discuss their first time discovering Bleach Lab. All conversation drops to a hush when the lights go down and the band arrives, launching into Lost In A Rush of Emptiness’ “Indigo,” a track documenting the push-and-pull of unstable romantic relationships backed by sweeping strings and catchy percussion. There’s an immediate ease to the band, with frontperson Jenna Kyle utilizing the mic stand as a dance partner, her movements intentional, vocals tender, not unlike the women of 1970s Laurel Canyon she cites as inspiration. Another fan favorite is the poignant “Saving All Your Kindness,” its gauzy soundscape counterbalanced by lyrics that are especially resonant in the age of situationships, talking stages, and not-quite commitment: “Is there someone you’re holding out for? / Baby, I’ve been lying to myself / Are you saving all your kindness / And your love for someone else?” Bleach Lab wastes no time, only occasionally punctuating their free-flowing set with gratitude for the tour, for our being here, and once to dedicate “Smile For Me” (the album’s lead single, reviewed by The New Age Magazine’s own Isla Mcrobbie) to “anyone who has felt harassed or made uncomfortable at the hands of somebody else.” This is met with enthusiasm, particularly from the younger attendees, who lift lighters—not phone torches, lighters!—and sway along to the next few songs, hands around each other’s waists and arms. The coveted ability to share this space with each other in a post-pandemic world is not lost on Bleach Lab; after all, Lost In A Rush Of Emptiness is the first project the band was able to make in the same room, with their last three EPs constructed remotely due to lockdown. Of their newfound unity, the band says, “It’s completely surreal seeing people sing along to our songs, even the lesser known releases. It’s such an intimate and emotional experience. We always intended to write with our listeners in mind and a lot of the subjects we write about are quite personal. We often have a few chats with people after our shows about how certain songs have impacted them or even helped them in some way. That’s as rewarding as it gets, really.” Lost In A Rush Of Emptiness is a record steeped in isolation, loneliness, and confusion, but it comes to life when performed, and Bleach Lab can finally see the effects of their music: living, breathing, dancing, right before their eyes. The show ends on the visceral, all-consuming “Everything At Once,” to thunderous applause. The band links arms, poses for a picture, and gathers each wildflower bouquet from the stage before throwing them out into the crowd. It’s a gorgeous display of appreciation—Bleach Lab have waited years to receive their roses, but even once they’re earned, the band gives them right back to us. You Might Also Like
NEW SINGLE RELEASE – Linn Sandin ‘Think About It’
NEW SINGLE RELEASE – Linn Sandin ‘Think About It’ 21.11.23 Words by Harvey John Pull your head out the sand for this banger. https://www.youtube.com/watch?v=RRTLoivhwGg A voice reminiscent of Royal & The Serpent, a guitar riff that feels like it came straight from a country song and a beat that feels like marching feet – it’s strange to imagine Think About It has yet to find a large audience. Linn Sandin might not be a name that you hear in everyday conversation, but she’s a talent that’s sure to be a future headliner for the music festivals of tomorrow. My discovery of Sandin occurred during one of those every day, bored out of your mind, flicking through TikTok where I wasn’t really listening or watching – procrastination was the game, and I was winning. Thinking wasn’t even on my mind, ironic as that may be. Sandin’s song found me like a wake-up call to get back into the world. ‘Why don’t you think about it’, she sings – her soft voice carries the words with a weight that pulls you in with the twirl of her natural Swedish tongue and the energy of the words. Suddenly I was awake, and I was listening to this song that had me wanting to move, but also made me want to listen. Sandin’s ‘Think About It’ is a catchy piece of alt-rock but it also feels layered. A challenge to a faceless enemy to broaden themselves for a ‘single lane’ way of think. ‘Dare to enter my mind’ she sings, emphasis on each word as each word feels important. The challenge to create a change, to invite new perspective – perhaps this is a personal statement for Lin Sandin. The song certainly feels personal, as though she herself is trying to pull her audience’s head from the sand, ‘Why don’t you think about: All the time you wasted on fights, Never wanted to solve ‘em, Just add to the problem’. Sandins ‘Think About It’ might be personal but we all have a shared experience of knowing someone who is stubbornly ignorant, whom we’ve had to emphasise each word as the sentence itself might wholly be ignored. It’s a powerful, entertaining, catchy song that makes you want to move and expresses all the frustrations of arguing against belligerent ignorance. So, if you’re looking for an alt-rock artist to add to your playlist then consider Linn Sandin your next obsession. Seriously, ‘Think About It’! You Might Also Like