It was an enchanting event, something you’d imagine would take lace inside a fairy circle – Florence Rose, Geoge Tavern (18.05.25)
It was an enchanting event, something you’d imagine would take lace inside a fairy circle – Florence Rose, Geoge Tavern (18.05.25) Written 18.05.25 Last week Florence Rose debuted a new show, turning the George Tavern into a fairy garden to mark the start of spring 17 April 2025 By Caitlin Taylor Currently Listening to: A couple of days before the true Spring Equinox, Florence Rose and her troupe of artists took to the George Tavern’s historied stage. It was a night for those who grew up on Florence & the Machine and Stevie Nicks, equally as encapsulated by their flowing dresses and their haunting vocals. Mads Jensen, a newcomer to the London music scene, opened the show immediately setting the tone. With her long hair, lace skirts and bare feet, it was difficult not to picture her as a medieval bard. The instrumentation was impressive, the violin in particular, and it was a surprise to learn that this wasn’t her usual band. She spoke about her fascination with religious texts and the impact they’ve had on her music, providing depth to her already impressive lyricism. The mysterious duo eternally yours followed with their first ever live performance. One song expressed their desire to be somewhere else, the opposite of how everyone in the room appeared to be feeling. They enchanted the crowd with gorgeous harmonies, leaving them wanting more – which hopefully is soon to come. Qazi and Qazi could give anyone a lesson in how to captivate an audience; their echoing vocals were reminiscent of Snow White singing to the birds in the Disney classic. They both began and ended their set unaccompanied, a testament to the power of their voices. With a sweet little singalong in the middle and delicate hand choreography throughout, they were magical to watch. And finally Florence Rose took to the stage. Likely feeling the relief of a successful event, she gracefully launched into her set. Her performance tied a bow around what was already a dazzling night, managing to combine elements of all the previous artists as well as bringing her own unique touch. She could be likened to Adrienne Lenker, Joan Baez, or any other female singer who manages to find strength in their softness. It was beautiful. Florence also brought together an amazing collective of creatives who deserve credit: Jennifer Tett (@jennifer_l_h_tett) and Charlee (@unadored) managed to create an immersive fairy grove inside the classic London venue with flowers and vines strewn across the stage while various artists hung back pressed against the bar sketching the night’s events. It was an enchanting event, something you’d imagine would take lace inside a fairy circle. A testament to embracing the beauty of being gentle. We can only hope this becomes a tradition. You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
New Single: Mumble Tide “Mawpao”
Bristol duo Mumble Tide have released a second single Mawpao, from their debut full-length album Might As Well Play Another One, out on May 1st via Breakfast Records.
The band is formed of main singer and lyricist Gina Leonard and producer Ryan Rogers, who for their previous EPs, were romantically involved. The writing and production of the upcoming debut album coincided with their breakup and transitioning into what they describe as ‘genuine friendship’. The album is a product of this experience, and Breakfast Records describes it as ‘full of heartbreaking storytelling’.
˖˳·˖ ִ New Single Release ˖·˳˖: Rats Tails “Flowers”
˖˳·˖ ִ New Single Release ˖·˳˖ Rats Tails “Flowers” Rats Tails brings us David Bowie dream pop on their new single “Flowers” 17.04.24 Words by Caitlin Taylor https://www.youtube.com/watch?v=T-nnZ7Ah114 Rats Tails are a decently new South East London rock band who formed after frontwoman Courtney McMahon ‘rediscovered her love of performance through singing in a David Bowie covers band’. The Bowie influence is clear as Rats Tails blend dreamy moderns sounds with classic 70s psychedelic rock to create the softest of their three releases so far ‘Flowers’. ‘Flowers’ starts gently and haunting, with a delicate instrumental intro broken by McMahon’s powerful voice. There is a melancholic crescendo before we enter the body of the song, almost reminiscent of Anais Mitchell’s brand of folk rock. “I wanted to let you know,” McMahon repeats as we’re treated to an acid rock-like combination of strings, wind (clarinet), and percussion. Speaking on the meaning of the lyrics, McMahon explains that: “You’ll never know all of the Flowers” verbatim, was my response to a long term ex-partner admitting he loved the ‘idea’ of me, rather than actual me. After processing the end of this relationship and the weight of his misogyny, I began a journey of discovering what I wish to do in life. ‘Flowers’ is about embracing your personal metamorphosis: the ugly and beautiful parts of you and your history. The sound of the track reflects that metamorphosis – it’s so colourful, full of twists & turns. It plays with genres, resulting in a dreamy and chaotic song about embracing your life journey. ‘Flowers’ is a great track to perform live, I can’t help but dance away with the rats and our crowd. I forget that the track stems from a moment of misogyny.” The song doesn’t seem entirely complete without its complimentary music video created by Samuel Hart. Reminiscent of an acid trip, it features a small candle creature battling a purple blob on the streets of Deptford until the video gradually transforms into a psychedelic kaleidoscope. The official release party for the track is at iconic East London venue The George Tavern on Saturday 20th April where they’ll be supported by The Last Whole Earth Catalog and Lost Lyra. View this post on Instagram A post shared by Maripool (@maripool__) You Might Also Like
｡★New Single Review✯: frances mistry “our blood”
｡★New Single Review✯: frances mistry “our blood” Longlisted for the Glastonbury Emerging Talent Competition 2022, Brighton-based Frances Mistry unveils her latest single, “our blood”. 26.02.24 Words by Madeleine Reynard https://www.youtube.com/watch?v=vY2aZqMJDKI A provocative sibling for the much-loved ‘pick at her skin’, it successfully whets her fans’ appetite before the release of her eagerly awaited second EP. Identifying herself as a ‘part-time Nintendo enthusiast,’ Frances supports her claim by shooting the music video for this single on a Nintendo 3DS amidst the woodlands of Brighton. Known for frequently featuring woodland photo shoots in her song promotions on Instagram (@frances.mistry), this choice aligns seamlessly with the whimsical essence of the artist. The forest backdrop becomes a sonic canvas for the ethereal vocals and heavy instrumental, creating a fitting atmosphere for this homegrown talent to bloom. Despite the seemingly nonchalant filming approach, Mistry’s lyrics delve deep into the complexities surrounding allegations against men. Frances shares, “This track is about how whenever allegations come out about men, people rush to defend these men and say the victims must be lying. Especially if these are men with a platform.” By implementing elements of female rage in the narrative alongside a haunting melody, ‘our blood’ captures this palpable sense of frustration perfectly. On this indie-rock tune, you are able to trace influence from Brit rock band Wolf Alice, through the tracks fuzzy guitar-led sound and the hazy vocals often associated with lead singer Ellie Rowsell. While influences are evident, Mistry transforms them into something entirely her own, creating a sound that stands out in its refreshing originality. View this post on Instagram A post shared by frances 🪐 (@frances.mistry) You Might Also Like
｡✶New Single Review✶: Sarah Meth “Computer Love”
｡✶New Single Review✶: Sarah Meth “Computer Love” What do you imagine heartbroken AI would sound like? Probably something similar to Sarah Meth’s new release ‘Computer Love’. 21.02.24 Words by Caitlin Taylor https://www.youtube.com/watch?v=M3Y4cU7nclM It’s as if Grimes made gentler music or if Portishead and FKA Twigs had a robotic baby. On Instagram she described it as having been “made with digital tenderness” and accompanied it with a video of two lovers on a beach, interspersed with pixels, in a deep cyan tone. Her last EP ‘Steps’ was released in November 2023, a raw and emotional collection of songs covering her experiences of sexual trauma. ‘Computer Love’ bears some similarity to the track ‘Intro / It Happens’ as both have lo-fi vocals, but this new release certainly feels softer. In an interview with Fred Perry Sarah states that 90s’s trip-hop taught her to “not be overly precious with the recording quality for certain things when you’re making music if you want to make your own world of sound”. It does feel as though she is experimenting with soundscapes here, layering them with her own forlorn vocals. It’s likely to sound stunning live. The last couple years have been good for Sarah. She supported King Krule during his Space Heavy Tour and released multiple mixtapes and EPs. This is the first single from ‘Midnight Snack Volume Two’, the follow-up from the original mixtape released in 2022 which featured an accompanying film. It’s safe to assume we can expect the same for this new mixtape and we’ll definitely be keeping an eye out. View this post on Instagram A post shared by Sarah Meth (@sarahmeth) You Might Also Like
✧E-Chat✧✉: Night Tapes
“We all lived in the same house a few years back and had our own projects happening, but living together jams started happening organically and Night Tapes- which was us in the evenings after work recording the vibe on cassette tapes crept up on us. “ ✧E-Chat✧✉: Night Tapes Forged in the afterhours and rich with the sounds and stories of the city, London-based band, Night Tapes’ craft a serene concoction of colourful layers and woozy melodies, playing stage to the bands stream of consciousness. ❤➤➤ 01.02.24 Words by Amalia Castle https://www.youtube.com/watch?v=mEf0xM0FIg0 The trio rounded off the year with their vibrant single ‘Drifting’, an atmospheric soundscape that contrasts the track’s bright qualities with naked sentiments on new-age romanticism. Lead singer Iiris Vesik, tells TNAM about the bands inspirations, the magic of her home town in Tallinn, the exciting process of creating ‘Drifting’ and what’s coming up for Night Tapes in 2024 so far. Hey guys, how are you! What have you been getting up to since the release of your most recent single ‘drifting’? Heioo! Iiris here! We’re good! The start of the year has been emotionally slow/ I was ill a couple of times and in a general bear mood. But since the new moon things have started moving again & drifting seems to be picking up speed which is really nice to see/read. I probably should stop reading comments, but atm it’s been really nice to see comments popping up like little hits of dopamine. all though I should stop soon. You guys have told the story of how you all met studying in London & making music, how did you first start collaborating, and ultimately figure out that your sounds were compatible? Where did the name Night Tapes come from? We all lived in the same house a few years back and had our own projects happening, but living together jams started happening organically and Night Tapes- which was us in the evenings after work recording the vibe on cassette tapes crept up on us. What influence would you say your time spent together in London and your individual experiences growing up in Tallinn and the New Forrest have had on your musical style? I think there’s a magical vibe in Tallinn- I grew up in Old Town for the first 9 years of my life & talked to ghosts apparently (according to my brother). I have a bog behind my grandparents home where i stayed a lot as a kid. I carry a bit of Estonia with me everywhere I go so I think some of it does always end up in songs. I can only imagine it’s the same for the boys. Iris For Night Tape’s Single Cover ‘Drifting’ You’ve mentioned this most recent single was produced in a day! How was the process putting together ‘drifting’ and how do you combine your individual styles on new projects like this? It was Richie’s demo he brought to the session sounding pretty similar to the end version already. We were pumped to hear it with Max and got the song to where it is lyrically and structurally in a day. 31st of July 2023 was a great day. sometimes things just happen & things kinda come out like a sneeze. Just a moment and it’s there. It’s a gift when that happens because usually songs take 4 years with us (lol). This new single ‘drifting’ is sonically super colourful and uplifting but is matched with some sentiments on romance and love being a waste of time. This is such a fun contrast, what’s the story behind the meaning of the track? lyrically it was more of a stream of consciousness kinda thing. The line “romanticism must die” has always been a big emotional trigger for me & i’ve been carrying that line around for a while. with this song i was finally able to use it. By now i’ve figured out what it means for me, but I’d rather not tell and have people have their own interpretations. I can say though that I think the ideologies of romanticism in the 18th century for love are outdated and we should ask ourselves if the ideals back then still serve our love lives. I think they don’t. At one point you gotta ask yourself- is this a magical attraction or is it a trauma attraction actually (not that trauma attractions aren’t useful in bringing trauma out – it’s easier to heal something you are aware about). I think it’s more about the time and place and less about the one fated person for everyone. Something super special in your music is not just the big, dream-pop sounds in your production but the commentary in your lyrics, whether it’s on complex relationships or larger societal issues, where do you pull inspiration for the stories in your lyrics? I’m just collecting stories, words and feelings while living & weaving them into songs. trying to always leave something that’s true for me in there. Following some of the moodier, woozier tracks on your third EP ‘Perfect Kindness’, where are you hoping to take listeners with this new single? Are there any particular moments that inspired the bright, shimmery feeling in this track? I think we’re trying to make something we want to listen to. You’ve got a show alongside Sans Soucis, Circe and Ebbb in January, which I’ve already grabbed my tickets for! What else can we expect from Night Tapes in 2024? Yaaass! See you there! We’ve finished a new EP so look out for new songs coming up! Super pumped for them! making some more visuals with Owain Morgan (who did the video for drifting) and super excited to do that! Also, we have already started to write the next thing and we’re putting together a tour for this year to promote the new EP “Assisted Memories” coming out on the 26th of April. View this post on Instagram A post shared by
New Single Release: NewDad “White Ribbons”
New Single Release: NewDad “White Ribbons” The Galway breakout band NewDad, have recently shared the first track from their debut album, Madra, with the single release of White Ribbons. 25.01.24 Words by Holly Frape https://www.youtube.com/watch?v=99GaGJBB15M Since starting as a way to avoid their final cert performance in College, NewDad has certainly propelled through the alternative scene, acing the festival circuit in previous years. Having recently signed to Atlantic Records, it looks like there is no stopping them. White Ribbons is a simplistic soundtrack to reminisce on lost innocence, growth and self-assurance through hard times. As the band’s Instagram describes it; a love letter to themselves. (suitable through the January blues) The mellowing instruments provide a gloomy backdrop to Lead, Julie Dawson’s hauntingly soft voice. Opening the track, a low murmur from a guitar starts as a guide, producing clean and warm cathartic tones. The lead vocal phases in after a few seconds, uttering the sorrows of past hardships. A childlike whimsy is present in her tone, as if a distant memory had been unearthed, yearning for the double-edged sword of innocence to come back swiftly. Moving forward into the crescendo, her phrasing reflects an ethereal presence in the exaggerated length of ‘White Ribbons’, parallel to a church hymn or religious incantation. Progressing towards the end of the track, there is a pause on the rest of the instruments, and a lower section is sung to highlight the importance of isolation, emotionally and in the mix. Building audible tension towards the body as a vehicle of depression, ‘Broken down once or twice’ / ‘Jump start to save your life’. A final repetition of ‘White ribbons wrapped around me’ / ‘soft pink flesh that hugs me tightly, it’s so pretty how you fix yourself every time’. Layers distortion from a sweeping wall of sound produced by several Violins, dancing around her vocal. Which breaks up the section with eloquence. The rhythm of the guitar at the beginning is heard once again eventually quietening, resolving the hymn. The overall sonorous atmosphere relates closely to the Irish phrase: Ar scáth a chéile a mhaireann na daoine. Under the shadow of each other, people survive. A message that is clear through the track. The song’s audible and visual storytelling is viscerally present in a sparsely occupied sonic space. Displaying the talent of the quartet that was founded in the stagnation of lockdown. Which has seemingly influenced their sound. Their talent can be compared to the compelling lyrical rivalry with Kate Bush and rhythmically to Grouper. If White Ribbons is anything to go by, NewDad will soon dominate the charts with Madra, marking an excellent beginning of their journey in the alternative sonic landscape. View this post on Instagram A post shared by NewDad (@newdad_) You Might Also Like
New Single Release: Velvetine “Everyday Masquerade”
New Single Release: Velvetine “Everyday Masquerade” Velvetine’s latest single is a dreamy shoegaze ballad with a gothic rock twist. ‘Everyday Masquerade’ is a self-referential confession about the highs and lows of what it means to be an artist. 18.01.24 Words by Olivia Bloore https://www.youtube.com/watch?v=OnBxtB_UohA Velvetine are a four-piece band based in London, who describe themselves as blending influences of post punk, art rock and alternative music. Composed of Mia Scarlet, Ross Fernyhough, Joshua Rowell and Gabriel Powell, the band has so far released three singles: ‘Curtainsong’, ‘Hideaway’, and most recently ‘Everyday Masquerade’. Their latest single is an ‘ode to inspiration’ – the song pays homage to restless artists, and their bittersweet, constant need to create. With over five minutes of ethereal textures and a slow harmonic rhythm, we feel as if we too get lost in the inescapable masked ball of daily life. The most memorable feature of the track is its disorientating, lucid dream-like production. The song begins with a prominent bass hook riffing over a relaxed drum beat, supported by a rich shoegaze texture of synths and guitars. The guitar drawls are symptomatic of the Southern Gothic ‘dark country’ genre; with heavy reverb and panning, they add further space in the dreamy mix. Scarlet’s ethereal vocal is saturated with delay, reverb and sounds as if it is double tracked with whispers – a technique commonly used by My Bloody Valentine. She sings ‘hiding in my room from the world outside’ with a half-spoken vocal fry to encapsulate the boredom of an artist’s rut, and the monotony of everyday life. The vocal line becomes more melodic as the verse develops; the chorus sings a rumination ‘the need of creation, inspiration is dressed up, wasting time’ over soaring backing vocals. Scarlet’s voice is rich, with an edge of grit and power, whilst seamlessly blending into the dreamy rock instrumental. The bridge builds suspense, as the bass line picks faster rhythms and the drums punch through the texture. The vocal line rises in pitch, as we feel a climactic sense of rage at having to perform at this monotonous ‘masquerade’. However, before long the song collapses back into the familiar chorus, as we are eased back into the familiar feeling of wishing for ‘inspiration’. ‘Everyday Masquerade’ establishes Velvetine’s unique sound as a post-punk take on art rock and shoegaze music. We look forward to further releases from the band, and hope for an upcoming debut EP or album. You can catch Velvetine at gig venues across London, including at Two Palms on 26th January. View this post on Instagram A post shared by Velvetine (@velvetineband) You Might Also Like Dream, General and Greater London, New Discovery, New Releases, Post Punk, Shoegaze, Single, Velvetine
NEW SINGLE RELEASE – The Last Dinner Party ‘On Your Side’
NEW SINGLE RELEASE – The Last Dinner Party ‘On Your Side’ 17.11.23 Words by Hannah Naismith Describing ‘On Your Side’ for the first time in a recent interview, lead singer Abigail Morris says that the song was written immediately after having met someone and lying in bed with them for the first time. https://www.youtube.com/watch?v=rviP4LEjaZo The song is true to this because it is a hypnotic longing, with dreamlike vocals; as if it were a memory that hasn’t happened yet. The steady beating of the drums and the tender playing of the piano draw a ballad of what once was: ‘On Your Side’ speaks to the ‘bliss of mourning’. Fitting for the changing of the seasons, ‘On Your Side’ centres on the vulnerability of change and clinging on to the lost. The ‘found-footage’ of The Last Dinner Party’s music video draws on this vulnerability, as it acts to piece together memory of the self through a cinematic haze. Within this, the intimacy of their lyrics draw out both the band’s wistfulness and the listeners own experiences. When performing this on stage, as in Manchester Academy last month, another memory of ‘On Your Side’ is created, which too will be mourned. Abigail’s rich, siren-like voice accompanied by the mellowness of the guitar, transcends the crowd through their own amassed experience. With now over a million listeners on Spotify, encouraged by the phenomena of live shows they’re performing, the band are reminiscent of Florence and the Machine’s raw emotional energy, who they supported earlier this year. Yet, they could also be likened to Wet Leg or Wolf Alice; with a hint of Frankie Cosmos – although The Last Dinner Party fittingly seems darker, as if recorded later into the night. The Last Dinner Party has an eccentric charm and ethereality that is one to witness live. At their shows, they will cordially invite you to dress up in your best attire and become lost in the nostalgia of their sound. Their debut album Prelude to Ecstasy is available to pre-order now and will be released 2nd February 2024. 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