New Single Release: Marlowe “Give It Up”
New Single Release: Marlowe “Give It Up” Marlowe (they/them) is set to start 2024 with a bang, thanks to their sparkling debut single ‘Give It Up’. 05.02.24 Words by Minnie Life https://youtu.be/nYvGabF3mF4 This record is so much fun, bursting with a catchy pop chorus, hints of SOPHIE, and a bit of House thrown in there for good measure. It feels very in line with what the likes of pop-giants Ariana Grande and Beyoncé are currently exploring — big pop tunes that are expanding and reinventing the genre. ‘Give It Up’ feels very referential, with nods to Prince and Charli XCX, but also very fresh. In this single, Marlowe explores their frustrations with queer relationships, running into barriers with their partners who are never quite comfortable enough to be themselves, afraid of their feminine side. Marlowe wants them to embrace the femininity they fear, and leave it all out there on the dance floor. It’s a really empowering message, especially at a time when femininity, queer love and gender nonconformity are all being deeply demonised. It’s at times like these when queer communities find solace in music, on dance floors, at the club. We get to come together, embrace each other, and dance the fear of the outside world away. ‘Give It Up’ is the perfect track for this. You Might Also Like
New Single Release: Gayaneh Lara “I Think He’s Trying To Kill Me”
New Single Release: Gayaneh Lara “I Think He’s Trying To Kill Me” Gayaneh Lara makes music for the paranoid as she plays with paranoia and alt-pop in her enticing new single ‘I Think He’s Trying to Kill Me’. 17.01.24 Words by Teguan Harris https://www.youtube.com/watch?v=FRnF9KG_BdQ British-Armenian singer Gayaneh Lara released her thrilling new single ‘I Think He’s Trying to Kill Me’. This single is her first release this year, following her 2022 debut single ‘scary’. ‘I Think He’s Trying to Kill Me’ tells a frightening tale of paranoia; Gayaneh exhibits fear about sharing a space with someone who can become harmful at any point. Paranoia grips Gayaneh through tense and electric melodies that have listeners experience the same apprehensive state. ‘I Think He’s Trying to Kill Me’ sends a message that you can never truly know who you lay beside and who you live with through hair-raising lyrics. In 2022, Gayaneh Lara gave us a sample of her ability to craft a story through song with an intimate, playful and confessional voice in her debut single ‘scary.’ Following the release of ‘I Think He’s Trying to Kill Me,’ we now have a taste of her uniqueness and quirk. Gayaneh introduced herself as an artist who makes music for the paranoid in December on her social media. This new single is an astonishing and thrilling way to introduce herself and her image in the new year. The genius ability to fuse fun and alt-pop instrumentals with dark indie and sinister lyrics is a talent that should be appreciated and commended. Gayaneh has already established herself as a creative and versatile new artist, and 2024 has just begun. Signed with Check Leopard, Gayaneh will excel in her career. By using her ability to create chilling tension with quirky ear-worm choruses, Gayaneh will continue to soar in the alt-pop and electronic scene. As a talented and versatile new artist with a background in acting, 2024 is bright for Gayaneh. She is only at the beginning of her career. View this post on Instagram A post shared by Check Leopard (@checkleopard) https://open.spotify.com/album/6Oupk3wMk8fq8rWhzG06aa?si=hy1WrGAuSVSVG7gpZfSxIQ You Might Also Like
Debut Single Release: Lilly Ahlberg “Hit The Ground”
Debut Single Release: Lilly Ahlberg “Hit The Ground” London-based singer songwriter, Lily Ahlberg has released a new dreamy dance single – ‘Hit The Ground’ to start the new year off with a bang. 17.01.24 Words by Natasha Judge https://www.youtube.com/watch?v=Aon7Nh5WX9w Ahlberg – the multi-instrumentalist powerhouse is also a budding producer, and has worked with many genres throughout her career, whilst keeping a unique sound throughout. This new song is no different, working alongside producer Nathan C – she further explores the dance pop landscape. The track ‘Hit The Ground’ depicts the emotional turmoil of examining whether you should keep someone in your life due to all the time and memories spent together and hope for betterment, or accept the loss of losing someone. It acknowledges the inevitability of change whether it be of people or situations but simultaneously recognises the sadness that comes alongside it. Despite the song being of a more serious topic of the questioning and uncertainty of people staying, changing or leaving your life, it juxtaposes the themes of the song with a catchy optimistic beat. The musical transition from the tune starting as a piano ballad and transforming into a dance beat almost highlights that life continues even after the pain of losing someone. Lily is a Anglo-Swedish musician, who has travelled around the world during her youth, staying in areas such as Australia, Norway, Italy, and Sweden – and this track has definite links towards her global musical exploration. Lilly’s success stemmed from uploading covers to YouTube and her voice and new sounds have attracted new listeners. Her first EP ‘Call Me’ was a dance classic and she has already worked with producer Sonny Fodera, and acts including Vize and Just Kiddin, as well as recently working on producing endeavours. ‘Hit The Ground’ is the first of hopefully many more releases from Ahlberg in 2024 as they continue to divulge their dance discography. View this post on Instagram A post shared by rayn (@whoisrayn) You Might Also Like
New Single Release: TATYANA – “Down Bad”
New Single Release: TATYANA – “Down Bad” A slick goodbye to a sticky situationship, TATYANA’s ‘Down Bad’ hints at what to expect from her upcoming album. 12.01.24 Words by Alekia Gill https://www.youtube.com/watch?v=WSMryyB315A TATYANA’s newest single ‘Down Bad’ is not a love song, rather an angry love letter to someone she knows is bad news. Opening with a scream of frustration, the London-based singer/songwriter places punchy static behind lyrics that describe her falling for someone, even though it’s ‘such a chore’. TATYANA describes her music as ‘electro-harp-pop’, placing her wholly in a field of her own. While her older music worked mainly with catchy, bubblegum synth-pop, this single gives her a certain edge. If it’s anything to go by, her second album, ‘IT’S OVER’ will be an unapologetic homage to being single. I mean, the title speaks for itself. In the past few years, social media has brought terms such as ‘gaslight’, ‘attachment style’ and ‘love bombing’ into the mainstream, meaning that we seem to be more literate when it comes to our emotions, especially in relationships. ‘Down Bad’ may be a product of this trend, as TATYANA acknowledges that ‘we’re just two narcissists circling each other’, and that this person makes her ‘the worst version of myself’. And yet, she’s down bad – the unhealthiest habits are always the most addictive. Luckily, the song serves to cut ties with the walking red flag, and is pretty catchy too. As a producer, TATYANA pairs futuristic electronic beats with warped textures, matching perfectly with the aesthetic of the music video. Here we see her adopt the ‘cyber nymph’ aesthetic in a layered white micro-skirt and distressed, knee-length leg warmers – an outfit any self-respecting grungy maximalist would die for. Having been featured in many of Spotify and Apple’s new music playlists, and after a successful run of shows last year, TATYANA will celebrate the launch of her second album with a headline show at The Waiting Room in Stoke Newington on March 22nd. Definitely get your hands on some tickets if you’d like to join in with that therapeutic scream and who knows, she might even bring out the harp too. View this post on Instagram A post shared by TATYANA (@itstatyana) You Might Also Like
NEW SINGLE RELEASE – Head Ballet ‘Contact Lens’
NEW SINGLE RELEASE – Head Ballet ‘Contact Lens’ A funky sort of sadness grips me as I’m walking down the road listening to Head Ballet’s latest release 06.12.23 Words by Harvey John https://www.youtube.com/watch?v=lYrZNAkBG9M The Manchester based electronic-dance band have pulled me out of this semi-bright British day (a taste of summer in this bleak winter) into a sense of loss. Usually I avoid this feeling, sadness. I don’t try to look back at past failings or feel their weight. And you know what? I feel good – I feel…released. The band’s latest song, Contact Lens, released on the 24th of November and weaves it way between joy and sadness – going from ‘holding hands’ and romantic notions to falling into ‘a cloud in such bad weather’. There’s a great sense of loss in these lyrics. The band lead singer and vocalist, Kiera Court, has a wispy sort of voice that carries the playful notes she produces and layers the undertones of someone with a heavy heart and a sense of loss. It’s a voice that you’d find instantly recognisable. If you put Head Ballet on a speaker in a room full of a thousand chatty people, those who fans would instantly feel their ears prickling up. Loss in for Head Ballet isn’t a losing someone, it’s losing the ability to see clearly – that what they’ve lost provided them with so much clarity that without it they feel almost blinded. The idea of losing innocence isn’t something that’s lost on this generation, and for a band that takes inspiration from its experiences – that formed during the height of lockdown – loss of clarity and feeling blind and confused is something that many of this Covid-kept generation can relate to. Contact Lens is a song that seeps pain like a dull ache, one that makes you want to cry – and that’s a compliment! Songs should feel emotionally evocative, not just passive tunes that you listen to while you’re on the bus or going for a run or leaving work. Sometimes you need to let your hair down, get out the Ben & Jerry’s, lie on your bed and listening to a sad song and let all that built up pressure free – utterly lose it, just ‘like a contact lens’. If you’re looking to see this band live and live within or can travel to London in January, then you are in luck! The band will be playing live in The Waiting Room in Stoke Newington. Tickets are available and can be found through the link in the bands Instagram bio. For those able to attend the show at 7pm on Wednesday 31st of January will be in for a treat! You Might Also Like
NEW SINGLE REMIX – Disclosure ‘Higher Than Ever Before’ yunè pinku Remix
NEW SINGLE REMIX – Disclosure ‘Higher Than Ever Before’ yunè pinku Remix yunè pinku transcends the club dancefloor with ethereal remix of Disclosure’s ‘Higher Than Ever Before’ 30.11.23 Words by Amalia Castle https://www.youtube.com/watch?v=S2OOLLJNzAA Dance music has the ability to take you back to an intoxicating night long-gone, or leave you waiting for another moment of free-reign. For me, it often allows an indulgence in letting loose. It’s all about that feeling. So, when you combine UK dance music legends Disclosure with rising dance artist yunè pinku, that’s exactly what you get. yunè pinku is the producer, vocalist and DJ crafting experimental dance music for an audience she calls “introverted ravers”. Having first explored lo-fi bedroom pop and carving out ambient soundscapes at her computer, she later began playing around with club sounds. Here she melded these creations with her textured production, a touch of existentialism and a nod to the growing virtuality creeping into our lives. Over the past few years she has established herself as one of the UK’s most unique club producers, bringing a glitching, spectral energy to the sounds of trance, breakbeat, garage and house. In this most recent release yunè pinku was invited to remix Disclosure’s colorful jungle track ‘Higher Than Ever Before’. However, the remix tells a more dreamlike story than the original, beginning with warping vocals, tension-building breaks and shimmering hi-hats. Yune’s own ghostly vocals emulating hazy memories of freedom and dance, as she echoes against the keys. The track then opens up an expansive, textured soundscape layered with flickering synths, reminiscent of a new-age Tangerine Dream. yunè pinku effortlessly captures euphoric afterhours in her production and she doesn’t hold back with this remix, which will transport you right to those trance-like moments on the dancefloor. You Might Also Like
NEW ALBUM RELEASE – PinkPantheress ‘Heaven Knows’
NEW ALBUM RELEASE – PinkPantheress ‘Heaven Knows’ Two-stepping your way through the dark psyche of a tortured romantic 29.11.23 Words by Scott Rudd It was challenging to approach PinkPantheress’ debut studio album, ‘Heaven Knows,’(Warner UK) with any bold expectations. This isn’t a negative point; rather, she has cultivated a sound that is both nostalgic and filled with reminiscence, yet distinctly hers. While ‘to hell with it’ showcased her prowess as a viral hitmaker in the TikTok age— whether intentional or not—cementing her style with sentimental and ironically cheesy lyrics over beats influenced by 90s DnB, garage, and breakbeat loops. The songs are notably short, rarely exceeding the 2-minute mark, but in an era of growing impatience, this worked in her favour. I like to characterise it as bedroom pop on pills. Despite not releasing a new full-length project in 2022, Pantheress remained active with collaborations featuring Lil Uzi Vert, WILLOW, Sam Gellarity, Shygirl, and Mura Masa. With each drop, she consistently sparked interest and excitement in the UK music scene. Each release sounded cleaner in the mix, culminating in a significant collaboration with her viral counterpart across the pond, Ice Spice, propelling her into worldwide stardom. This timing couldn’t have been more perfect for the release of her highly anticipated debut album. ‘Heaven Knows’ continues to highlight Pantheress’ strengths and advancements in production, but arguably, it’s her abilities as a curator and collaborator that are truly noteworthy in this delightful debut. She brings in an eclectic array of producers and artists, all of whom operate within their unique spaces, including Working on Dying’s BNYX and F1lthy, London on da Track, Danny L Harle, Greg Kurstin, Central Cee, Rema, and Kelela. All of them seamlessly fit into Pantheress’ vision like pieces of a puzzle. https://www.youtube.com/watch?v=fd6tyv8GowY Upon the initial listen, it becomes apparent that there is a significant increase in quality and fulfilment. The songs on ‘Heaven Knows’ are structurally denser in terms of lyrics and production. While the loops and breakbeats that defined her earlier projects are still present, they no longer dominate every song, representing a classy evolution in her sound. The beats feel more fleshed out than I had anticipated, leading me into an adventure of unpredictability Right from the start with ‘Another Life,’ expectations take an unexpected turn. It opens with a grand gothic orchestral composition, immersing you in an ascent toward an ethereal state that complements the lyrical narrative of a lover’s death. As the chorus unfolds, a fusion of genres interweaves seamlessly, ranging from K-pop to Ambient and jazzy DnB. Rema contributes a brief and somewhat underwhelming verse toward the end of the song, leaving a desire for Pantheress to reclaim the mic. ‘True Romance,’ featuring an interpolation of McFly’s ‘Five Colours in Her Hair,’ is sure to trigger nostalgia alarms for some listeners. Pantheress chronicles a fan’s love and obsession with a performing artist over a cute bedroom-pop-punk backdrop. It may border on the creepy, but the joyfulness of the instrumental prevents it from being completely unsettling, a characteristic Pantheress has maintained since the early days of her career. ‘Just For Me’ follows a similar juxtaposition. ‘Mosquito’ and ‘The Aisle’ pick up the momentum nicely, with the latter standing out for its heavy disco influence, reminiscent of Dua Lipa’s ‘Future Nostalgia.’ (Warner) It incorporates futuristic 808s that flutter around the beat, shifting in and out of focus at their whim. Central Cee joins Pantheress on the next track, ‘Nice to Meet You,’ a fitting collaboration given Cench’s interpolation and sampling of Pantheress in one of his major songs, ‘Obsessed with You.’ His feature aligns well with the theme of love and regret as he raps about the end of his relationship with social media influencer Madeline Argy. He navigates through denial, regret, and acceptance with a well-paced delivery. Cash Cobain’s infusion of chill Drill and Trap seamlessly accommodates both artists, working fluidly within the collaboration. https://www.youtube.com/watch?v=eiPX0qqT_Nk ‘Bury Me’ features stellar production from BNYX, one of the most in-demand producers currently in the industry. He received praise from industry legend Zane Lowe on his Beats1 radio show for his work on this record. Pantheress and Kelela effortlessly navigate the descending basslines of BNYX. ‘Internet Baby (Interlude)’ sees Pantheress addressing issues with obsessive fans, an unfortunately unavoidable challenge for artists in today’s world where surveillance is omnipresent. ‘Ophelia’ continues this dark sequence of tracks. Here, Pantheress sings about being murdered by a lover for not treating them better, drawing inspiration from the imagery of Shakespeare’s Hamlet. This track truly showcases her prowess as an artist because a song this dark shouldn’t be as beautiful as it is. ‘Feel Complete’ is another collaboration with Mura Masa but comes across as one of their weaker songs. While not inherently bad, except for some gorgeous string arrangements, it lacks the depth to keep me fully engaged. ‘Blue’ is another song that’s sure to trigger nostalgic feelings with an interpolation of ‘Kickstarts’ by Example, a track that most British music lovers in their 20s likely hold dear. The tune, produced by Scottish electronic producer Sam Gellaitry, who also produced ‘Picture in My Mind,’ turned out to be one of the biggest songs for both artists in 2022. The album concludes on a grand note, running just shy of four minutes, which is unusually long for a PinkPantheress track. It immerses us in the dark psyche of a narrator determined to gain the love of someone who clearly doesn’t reciprocate the feelings. The track evolves from a retro-futuristic dance ballad into a booming distorted alt-rock finish, reminiscent of how Billie Eilish’s ‘Happier Than Ever’ concludes, though not as heavy and euphoric. In conclusion, despite encountering some hurdles along the way, ‘Heaven Knows’ stands as a commendable debut for an artist whose ascent to stardom has been as rapid as it has been. The presented ideas are uniquely observed and executed with snippy confidence, adding a positive dimension to the energy and
NEW SINGLE RELEASE – Dionne ‘Golden Boy’
NEW SINGLE RELEASE – Dionne ‘Golden Boy’ 06.11.23 Words by Molly Gregson Dionne shines on new single ‘Golden Boy’ https://www.youtube.com/watch?v=SEqBICOg8CM Dionne Douglas, known artistically by the mononym of Dionne, is a Birmingham-born multi-instrumentalist and vocalist. Dionne first rose to prominence as the sister to Mercury nominated neo-soul artist Laura Mvula, with whom she performed as backing vocalist and violinist. But Dionne has now emerged as an exciting up-and-coming artist in her own right, sharing new single, Golden Boy. Her career so far has seen her touring with Florence and the Machine since 2018, where she quickly became a fan favourite part of the group after posting behind the scenes footage of the usually techno-phobic band on tour on her social media. In a recent post regarding the response to her own artistry, Dionne even went as far as to thank the ‘Dance feverlings’ that have helped her get here- a reference to the fans of the 2022 Florence and the Machine record Dance Fever. It has been apparent through her work as a backing-vocalist and as a vocal coach that Dionne has a technically brilliant voice, but on Golden Boy, her vocals really shine through. Her sound shares similarities to that of her sister, clearly encompassing similar gospel, soul and R&B influences, but Dionne shines out on her own, radiating positivity and passion through her lyrics and vocals on this dance-friendly single. Golden Boy is the ear worm you don’t want to forget; the simplistic choral lines of “take it, take it // make it, make it // you can have it” are mesmeric and captivating when delivered in Dionne’s voice. The first tastes of Dionne’s solo artistry are hopeful, uplifting and beautiful. On Golden Boy she sings “You don’t know what the future holds // give everything” and if Dionne continues releasing gems like this, her future certainly looks bright! Speaking about the single Dionne stated: “The heart is to go for things outside of your comfort zone! Give everything you’ve got and you might see that you’re capable of more than you imagined” This new chapter for Dionne has seen her release three singles in the few weeks so it seems as though she may be warming up to a bigger project, indeed, she’s certainly been teasing the prospect of live shows on her instagram. So watch this space, and hopefully big things are coming for this golden girl! You Might Also Like Birmingham, Dionne, electro pop, New Discovery, New Releases, Single, SynthPop
NEW SINGLE RELEASE – Girl Ray ‘Hurt So Bad’
NEW SINGLE RELEASE – Girl Ray ‘Hurt So Bad’ 01.11.23 Words by Teguan Harris North London-based girl band Girl Ray has released their stunning electropop new single, ‘Hurt So Bad’ https://www.youtube.com/watch?v=c_7lUGh8TaM ‘Hurt So Bad’ is their first single release after the release of their third album, ‘Prestige’, which the band released in August of this year. ‘Hurt So Bad’ was recorded with Al Doyle and Joe Goddard of ‘Hot Chip’. The song also features vocals from Lysandre Ménard. In a statement on Bandcamp about their new single, the band collectively stated: “‘Hurt So Bad’ was written during the pandemic, when I was working on writing our third album and still deciding what the feel of it would be. Initially, I thought that a more electronic/house-inspired sound would be a good fit for us, and with ‘Give Me Your Love’ and ‘Hurt So Bad’ demoed, we visited Al Doyle and Joe Goddard’s studio near Brick Lane to flesh them out. They were a great match for these songs, and we loved playing with their mountains of rare synths. Although our album ended up being more live, I think you can still hear the beginnings of our disco inspiration in this track.” Girl Ray comprises Poppy Hankin, Iris McConnell and Sophie Moss, who released ‘Prestige’ last summer via Moshi Moshi. Ben H. Allen, the Grammy award-winning producer who worked with big stars such as M.I.A., Gnarls Barkley, Christina Aguilera and Deerhunter, was behind the production and composition of this album, alongside Hankin, the band’s songwriter. Girl Ray embarks on a mission to reclaim disco music as a celebration of sexuality and outsider culture, drawing inspiration from the queer television drama ‘Pose’ and using its original and rare sound and aesthetic. With the release of ‘Prestige’, the band has accomplished their mission. ‘Prestige’ took inspiration and sound from their previous album. The shambolic charm of their 2017 debut, ‘Earl Grey’, and the indie R&B sound of 2019’s ‘Girl’ formed the third album. ‘Prestige’ is an escape to a dreamy fantasy clubland, with the overarching narrative being love and the experiences of being in love. Girl Ray’s year in music has been more than successful. With their new album release, the announcement of their UK winter tour earlier this year, and the US tour they are currently on, it is easy to predict that the band will only get bigger on the electropop indie scene. It is enticing to anticipate what their next move in their career will be. You Might Also Like electro pop, Girl Ray, North London, On the Rise, Single, SynthPop