New Single: Dalia ‘Hanging by a Thread’
New Single: Dalia ‘Hanging by a Thread’ London based singer Dalia is back with the single ‘Hanging by a Thread’ just in time for summer. The track is an exploration of self discovery, realisation, and emotional vulnerability. By Natasha Judge Currently Listening to: ‘Hanging By a Thread’ is an experimental track that starts with a voice note, and then weaves this into the song as a motif throughout. Speaking on the tune, Dalia expressed that the track was written “during a period of intense personal turmoil”, as she noted that she was forced to confront repressed emotions. She said: “Hanging By a Thread chronicles the breakdown of a relationship weighed down by unhealed wounds.” The track is a pop ballad that celebrates and recognises the strength in vulnerability and emphasises the empowerment that can come from owning your tears and subsequent emotions. The song was a result of Dalia realising she was still tied to a past relationship whilst with a new love, and the fallout of the unresolved connection. ‘Hanging by a Thread’ unravels her inner monologue of feeling lost, confused and guilty. Musically, the melancholy lyrics juxtapose with the rhythmic base of the tune. There is a build-up of guitar strumming, paired well with percussion to provide an electric feel to the single by the end of the track. This pop track is an excellent portrayal of self-reflection, and coming of age, and the catchy chorus makes us eager to hear more of this new sound from Dalia. Dalia’s tracks would be well suited to fans of Holly Humberstone, Phoebe Bridgers and Gracie Abrams. You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
‘My producer and I had a phrase whilst creating the album, mouldy cream doughnut’: Interview with Joni on Her Debut Album ‘Things I Left Behind’
‘My producer and I had a phrase whilst creating the album, mouldy cream doughnut’: Interview with Joni on Her Debut Album ‘Things I Left Behind’ In light of her debut album, “Things I Left Behind,” we spoke to the American-born vocalist and songwriter, Joni, who discussed her creative journey following her heartbreak, the “mouldy cream doughnut” that shaped her album and more… By Jack Webb Currently Listening to: Joni, your album, “Things I Left Behind,” will be released tomorrow on April 11th. What can fans expect to hear? That’s hard to distill down to a few sentences. I guess fans can expect to hear a good variety of songs because this album was a big subject to tackle, with it being centred around my first heartbreak and the subsequent feelings of loss. I was going through a lot of change and growth in a short amount of time, and I think that can be seen with the big spread of songs, sonically. My producer and I had a phrase whilst creating the album, mouldy cream doughnut. That’s why my voice is sweet-sounding, we wanted to pull on listeners’ heartstrings, while the music feels a little off, a little mouldy. Nothing too perfect. That was how we guided the album regarding its sound. Your voice on the record is quite child-like. Musicians often talk about healing their “inner-child” in terms of their emotional journey. Although that’s not quite what you were doing on the album, to what extent was your voice partly reflecting that process? It’s funny because I have no idea how I sound – I just sing. You can’t judge your own voice, and I don’t think you can judge your own art too much. It’s always nice to hear outside perspectives, but for me it’s just my voice. It’s the only one I have! What helped me was finding a producer who could hold up a mirror and show me who I am as an artist. That was important, because it’s difficult to create when you try and do everything yourself. It feels like it alongside the healing process of your heartbreak. You were kind of on, like a developing process, musically. In terms of your music as well, particularly given that this is your first solo album. Did you, at any point, feel that these two journeys were happening at the same time? I guess it’s funny because the person that I was with for a decade of my life, and who the album is centered around, was my producer who I worked very closely with. Alongside our personal relationship, we had a working relationship, too. So, when everything fell apart I felt very lost within my own music. When you make music with someone you’re in a relationship with, the two of you begin to mould into one person, in a way. I lost a big part of myself – it took a while to get that back. I began to realise that my music wasn’t only good because of them. That was when I began to play songs on my own, acoustically, and people reacted well to them. Acoustic songs can be very good at evoking raw emotions, and in your case with your acoustics they appear to reflect an understandable feeling of emptiness. As I’ve said, making this album was very healing. I didn’t want to feel like all the pain that I had at the time was for nothing, so to take that pain and transform it was very satisfying. That’s not to say it didn’t take time – I didn’t immediately think to use this experience to start writing songs. I was very sad for a long time, but then I started to slowly write songs that would surprise me. A lot of times in the past I would write songs from an outsider perspective, things that weren’t really my experience, perhaps as a protective mechanism. But, once I went through my heartbreak, I felt like an artist who had something to say. My songs started to have little details in them in a way that they didn’t before. A lot of musicians rely on their personal pain to be able to create, but this seemed like a new process for you. Regarding the lyrical content, how was your approach different when making your album, compared to your collaboration days? You know, it wasn’t a conscious decision. It wasn’t until after I had written the songs when I realised there was less of a wall up in the songs. One of the tracks on the album, Strawberry Lane, contains lots of details from real events in my life. The title is an actual address. Not to say that I wouldn’t have written that song in the past, but when I did, the words came out very easily. Being American-born and now based in the UK, are familiar with the concept of leaving an old life behind and starting anew? If so, has that always shaped your music? Growing up, my Dad was a submariner, so we moved around a lot – every two or three years. It was weird because every time you leave a place you can reinvent yourself and begin with a clean slate. I’d approach things as an outsider, too. When you move around a lot you learn to look at the world and see what it’s like, so I think I’ve always been observing things. But then, you start to write about other perspectives and things that you see as opposed to your own internal experiences. London has given me another fresh start, which I needed after my heartbreak. I’m trying to stay more rooted now, and not run away when things go wrong! As we’ve already spoken about, part of this album’s journey involved finding your own voice. Being a woman in the music industry, how important is that feeling to you? I think women are less comfortable claiming their own space sometimes. I’ve co-produced a
New Single: Lip Filler ‘Laugh Track’
New Single: Lip Filler ‘Laugh Track’ Lip Filler prove indie-rock is no laughing matter with their new single ‘Laugh Track’ By Beth Gullliver Currently Listening to: Lip Filler’s new track is perfect in its unpredictability. The band, who first performed together on St Patrick’s Day in 2022, pride themselves on surprising the listener in live performances and in the studio, and ‘Laugh Track’ continues to encapsulate that energy. It’s fresh, sonically different to their previous EP ‘‘witchescrew’, and demonstrates the band’s willingness to experiment with genre-blending sounds. The south-east London quintet consists of Jude Scholefield and Verity Hughes on vocals and guitar, bassist Theodore Pasmore, Nate Wicks on drums and George Tucker who plays the keyboard and has adopted a front-man energy on vocals. Lip Filler met at various points throughout their education which explains why their musical chemistry is so tight. ‘Laugh Track’ is confident and begins with no instrumental, instead launching straight in with the lyric ‘Taking time to heal/ So, you’re dancing in the street/ To a silent song’. The indie-rock anthem builds to a deliciously whiny chorus of: ‘And it’s melting off/ In a drip/ On your block’. A stand-out lyric penned by the band and produced by St Francis Hotel – Declan Gaffney – is: ‘You’re turning all your pain into miracles/ It’s uglier than beautiful’. NME previously wrote: “Lip Filler have developed a reputation as a rowdy, sunny-side-up indie band imbuing their sound and their shows with pure chaos” – a notion that continues in their latest release. The track is likely to reach a fever-pitch live, with soaring vocals and an infectious beat that will please the band’s devoted fansbase. Lip Filler previously sold out multiple venues across London (including a gig hosted in their flat) and are set to perform across the country throughout April. If you want to witness their incredible energy live, be quick – you won’t want to miss the band’s rise to the top of London’s indie-rock scene. You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
New Single: Låpsley “Hurricane”
New Single: Låpsley “Hurricane” 9 years since her debut record ‘Long Way Home’, Låpsley has consistently found success by crafting a version of ambient pop characterised by bold vocal manipulation and the seamless melding of synthesisers, skeletal drumbeats and delicate piano sections. By Callum Lidington Currently Listening to: With 3 full-length LP’s under her belt, she operates in a space that is accessible enough for the casual listener, but dynamic enough for serious listeners to dissect and find satisfaction in the instrumentals she creates. However her latest single ‘Hurricane’, reaffirms the shift to a new aesthetic and a new sound, bringing with it a distinctly free-spirited medieval energy, we’re talking chainmail, churchyards, ancient runes, bows and arrows. The track is accompanied by a Jeanne Buchi-directed video which sees Lapsley as this mythical enchantress-like figure on horseback surrounded by 40 nude men (it’s an intense watch, but there is no denying the commitment to the medieval vibes)! The track in Låpsley’s own words is “an unapologetic expression of the love from a woman. An omnipotent, unbridled love. A love that’s feared and revered. Pierce your flag into the ground to affirm. Love to return. Love for the sake of free will. Love in protest. Love in chaos. Love in peace. A wild, misunderstood magic.” Starting with a tenderly delivered acoustic ballad, which patiently builds to its final energetic crescendo the structure of the song is symbolic of the quote above, that longing feeling of wanting to share the love you have, the search for the right person, and the release of all the built up emotion once you find that love. This track along with previous singles ‘Church’ and ‘Better’ marks the start of a journey for Lapsley into uncharted territory, leaving her old self behind, and venturing into a new evolution of her artistry. Despite its differences from the last 9 years of Låpsley’s discography, the most welcome constant is her fantastic vocal performance and uniquely rich and soulful tone. Låpsley’s 4th full length record ‘I’M A HURRICANE, I’M A WOMAN IN LOVE’ will be released on the 2nd May through ‘Her Own Recordings’, a label founded by Låpsley, specifically for women and non-binary-led projects. You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
New EP: Zo Lief “Hypnosis”
New EP: Zo Lief “Hypnosis” Zo Lief, meaning ‘so sweet’ is the collaboration of musical and romantic partners Laura Chen (Dutch singer-songwriter and guitarist) and James Attwood (British multi-instrumentalist). The band’s unique sound comes from this partnership, where Chen and Attwood work as each other’s muses to produce cinematic songs marked by poetic, introspective and playful lyrics and a cacophony of instruments that melt together into a psychedelic, dreamy sound. By Olivia Rix Currently Listening to: Chen’s impressive vocals on the first track ‘You (A Burden)’ (released as a single) lead us into the EP. Her voice immediately stands out as one that blends melancholy and honey-like intonations. Chen’s velvety voice is paired with a hypnotic instrumental which shifts and evolves with the emotion of the song and the layers of her vocals. The songwriting is beautiful, making ‘You (A Burden)’ a journey of thought, like a letter penned in frustration to a burdensome lover that is never sent, or a diary entry to explore and vent out frustrations within a relationship. The lyrics are clever and punchy: “Must let go of those regrets, Or they will hold onto you”. Concise, introspective lyrics like “you keep me out of control”, the reason for leaving, paired with the reason for staying: “[you’re] truly one of a kind” echo musical influences like Arctic Monkeys and Ultraviolence era Lana Del Rey. In Love At The Launderette, we get to see the impressive range of the band, as this is a much more playful song, a fun take on the lover’s conquest trope. Again, we have a self-contained story within the song which showcases the band’s brilliant songwriting. This song is sweeter, more indie-pop or dream-pop sounding. It’s a story of a launderette crush, with cheeky double entendre: “Our cycle is in sync” and inventive, unexpected rhymes “button // rock bottom”, “by the nose // superimposed” which add to the excitement and fresh feel of the EP. She Makes You Look Twice is heavier, grittier. Discussing this EP, the band says: “We love the juxtaposition of something that can be both heavenly and heavy, and seek out the intersection of those opposites; the areas in-between.” The interplay between the lyrics and instruments in this song is perfect, as we hear of a mysterious woman with “something bewitching about her” and we are ourselves bewitched by the song as instruments are gradually teased and added and the beat comes in, followed by fuzzy guitars. Hypnosis, the title track, has an ethereal sound, one which is sonically blissful. The lyrics describe feeling hypnotised by a lover, aware of their shortcomings but still drawn to them as though they are contagious. The switch from Chen’s soft, sweet singing, to her speaking is playful and delightful, followed by a dreamy guitar interlude. Pinch Me switches the mood with its upbeat sound, and Stop The Party closes the EP beautifully, with softer, sadder piano and slow drums and synth paired with melancholy lyrics and singing: “You can be lonesome in a jam packed space, always feeling out of place.” Throughout the EP, Chen uses her voice as another instrument, adding layers of emotion to the songs. At times she talks, she whispers “are you lonely too?”, she floats over the instrumentals and harmonises with herself, and sings sweetly, more heavily, moodily, draws out her voice and lifts it higher. Hypnosis on the whole has a delightful, chameleonic sound and feel. The emotion laden guitars are reminiscent of Jeff Buckley’s Grace and The Strokes, and the heady synths blend in a sound like that of Men I Trust or the electronic, twinkly aspects of Portishead. The production, done by themselves and James Bagshaw of Temples, is delicious. The EP is genre-defying, with aspects of psychedelia, dream pop, chamber pop, indie and garage rock. The lyricism sketches out scenes for an immersive, cinematic sound which deals with love in all of its sweetness, allure, and pain. Zo Lief are one to follow and watch as their new EP Hypnosis promises to seduce and hypnotise listeners worldwide. 2025 will see the band promote their new EP with a headline show at Cinetol Amsterdam on June 7th, ahead of soon to be announced touring and festival performances throughout Europe and the UK. You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
BBC 6 Music Festival Preview: jasmine.4.t
BBC 6 Music Festival Preview: jasmine.4.t If you ever find yourself trying to think of an artist that encapsulates everything The New Age Magazine represents, your mind should jump to Manchester’s jasmine.4.t. By Kyle Roczniak Currently Listening to: Despite critical acclaim and recent shows in Texas for SXSW, the artist (real name Jasmine Cruickshank) hasn’t had it easy. With a slow-moving beginning to her music career and an array of barriers in her personal life serving as a constant reminder of the difficulty she faces simply trying to exist as a transgender woman, her debut album ‘You Are The Morning’ released earlier this year feels like a triumph for the queer community, with its themes rooted deeply in trans love and life’s most formative experiences. Ahead of her show at Manchester’s YES for BBC Radio 6’s annual festival, TNAM sat down with Jasmine to talk about her debut album, trans experiences, and the state of the music industry. “It’s been a long time coming,” begins Jasmine, summing up her Boygenius-produced debut album’s recent release. “I could never have dreamed that my debut album would be produced by three Grammy award-winning musicians who are now massive heroes of mine and great friends of mine now too, and to have done that with a massive group of trans and queer artists in LA – it’s too much to even think about sometimes!” “The songs on the record are about the hardest time of my life, going through my transition, and when I was homeless and just heartbroken, and going through a divorce. But also all of these wonderful experiences like finding my chosen family, and falling in love with trans people for the first time, and how healing that experience was.” As timeless as the album is set to be, it feels just as though now is the perfect time for Jasmine’s voice to be listened to, and for her experiences to be taken seriously. “Trans people around the world are so under attack. We’ve had Wes Streeting banning puberty blockers for trans children,” she says, discussing a plethora of anti-trans legislation that is a clear, targeted attack against the community. Despite ‘You Are The Morning’ not being strictly themed around trans identity, the experiences Jasmine writes about are impossible to ignore. “In the public media right now, there’s so much hatred and fear still growing around transness that it’s impossible to not be shouting about it and be like, ‘yeah, I’m a proud trans woman’, even though its terrifying.” With the support of her queer and transgender inclusive chosen family in Manchester, her formative years in Bristol with long-term health problems and a struggle as a closeted trans woman feel a million miles away. But that isn’t to say she still doesn’t face danger. Speaking ahead of appearances at SXSW festival in Austin, Texas, Jasmine and her band still face uncertainty when it comes to travelling to share their art. “On on our way back from Texas, we have a stopover in North Carolina, and we’re not allowed to use public bathrooms. And so, we’re just going to have to hold it. And it’s like, we could get put in jail. And if I was going to prison as a trans woman, especially in the US, it’s a death sentence, so many trans men die in men’s prisons in the US. It’s insane and it’s something that’s completely unspoken about.” Our chat with Jasmine is hot on the heels of a campaign against the UK government’s proposed changes to copyright legislation, which would allow AI companies to use copyrighted music freely. “One of the most valuable things about this country is its music. We have incredibly acclaimed musicians emerging every year and we’re a huge part of the the direction of international music – we’re at the at the forefront of it and I don’t think that’s really recognised by the government and it needs to be,” says Jasmine. “It’s just completely impossible to work as an independent artist or on an independent label or anywhere in the music industry without having a second job. Like I work four days a week as a software engineer and that funds my music. I haven’t made any money from my music so far. I probably won’t for a while.” Now 33, Jasmine has been making music since being a teenager and was fortunate to receive monetary support from her parents for that. However, she’s aware of this position of privilege: “There are so many working-class musicians out there who deserve so much more recognition but are completely unable to access the kind of level of visibility that people who have the money to pay for it can like myself. I think that’s just completely unjust and unfair. I think that sort of recognition and support needs to not just be from funding bloodies and charities, but there needs to be massive change to the way our country supports artists. Speaking on the work of the BBC in supporting independent artists, Jasmine explains that even before her transition, BBC Introducing has always been supportive of her work.” I’m actually doing a playlist takeover on the [BBC 6 Music] indie show and I’m able to play some of Manchester’s trans artists as well, which is allowing the community to represent itself, which I think is a really beautiful aspect of it. On playing the station’s festival this month, she shares her excitement to be playing for a hometown crowd, which is set to be a beautiful moment for Jasmine to share with her chosen family in the place she calls home. Jasmine.4.t will be performing at the BBC Radio 6 Music Festival in Greater Manchester (26th-29th March). Listen to performances across the weekend on 6 Music and BBC Sounds. For festival tickets, visit bbc.co.uk/6musicfestival You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
Adam Hopper & The Wimps announce debut EP: ‘Remember To Have Fun’
Adam Hopper & The Wimps announce debut EP: ‘Remember To Have Fun’ Marking the news of long-awaited debut EP Remember To Have Fun – due 9th May – and a series of tour dates this spring (including an intimate hometown show at Manchester’s Castle Hotel) Adam Hopper & The Wimps share cruising, 60’s garage-inspired cut ‘My Friend Al’ By Isaac phelan Currently Listening to: Remember to Have Fun by Adam Hopper & The Wimps Their latest entry bursts to life with jangly guitars, swirling harmonica, and a buoyant rhythm section that channels the carefree charm of a bygone era. Drawing fond comparisons to the seminal Nuggets compilation, the track feels warm and familiar yet distinctly modern. Fuzzed-out guitar licks and playful vocal harmonies mark out a lo-fi aesthetic, revealing a cozy intimacy that wraps itself around Hopper’s earnest, wistful narrative. The lyrics celebrate the simplicity of adolescence — lazy afternoons spent at Blockbuster Video, aimless walks down country lanes and marathon gaming sessions. The song’s conversational tone lends an effortless grace; it’s less a traditional indie anthem and more a fond retelling of golden memories. Offering more on the single, Adam says: “From the years 2007 – 2010 my friends and I spent every single Saturday meeting at the Blockbuster Videos in Great Driffield on the corner of George Street and Middle Street South at 11am/12pm. We would spend a while looking at the computer games, then go to Cooplands bakery for 4 sausage rolls. After this, we would go back to mine and play Halo 3 for at least 5 hours. My Friend Al is a dedication to that time and my friend Alex.” The production is deliberately unfussy. Guitar riffs dart between breezy strums and sharper, twangy licks, while the harmonica injects bursts of brightness. The result is a sound that feels equally at home in a sweaty pub gig or drifting from a vintage record player. Hopper’s laid-back vocal delivery exudes warmth, combining gentle crooning with moments of spirited urgency. His northern charm is woven into every line, giving the song a deeply personal touch. The harmonies, loose and unpolished, reinforce the nostalgic tone — like a memory retold with affectionate exaggeration. “My Friend Al” is an anthem of memory, friendship, and the innocence of childhood. By embracing those minute details of youthful routine, of a life lived fully, Hopper uncovers a deeper sentiment: the quiet comfort of reliable friendships and shared rituals. Deep down, we all want a friend like Al. You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
“I spent so much time in the city and it inevitably has had an influence on who I am and my sound.” Interview with better joy
“I spent so much time in the city and it inevitably has had an influence on who I am and my sound.” Interview with better joy Last week, I had the pleasure of interviewing better joy, an exciting rising artist whose distinct alt-pop sound has quickly caught the attention of indie enthusiasts and critics alike. Her music beautifully balances gritty guitars and captivating melodies, elevated by Bria Keely’s honeyed vocals and insightful, vulnerable lyrics. Words by Isaac Phelan Currently Listening to: better joy has been described as a roller coaster ride, offering unexpected twists that thrill listeners and defy expectations. With nods from tastemakers at BBC Radio 6 Music, NME, and DIY, she is swiftly emerging as one of the UK’s most anticipated indie breakthroughs. During our conversation, we discussed her new single “quiet thing,” an introspective track highlighting the understated beauty of everyday moments in relationships, perfectly demonstrating her knack for nuanced storytelling set against a backdrop of energetic, intricate instrumentation. Bria, your project better joy launched in late 2023 and quickly gained comparisons to iconic bands such as The Cure and The Smiths, as well as contemporary voices like Phoebe Bridgers. How do you personally relate to these comparisons, and do they influence your creative process? It’s a bit wild that those comparisons happen, to be honest – and if I think about it too much, I get into imposter syndrome territory. It’s flattering that people compare me to those bands and I was listening to a lot of those bands when I started writing music, so it’s cool if those influences have come through in the music. I think vocally, to be compared to someone like Phoebe Bridgers is an honour, I love her so much! Your first release of 2025 was the single ‘waiting on time’. What inspired this track, and why did you choose it as your initial release for this year? I wrote this song with my friend, Michael Champion (Wet Leg, Champs Champs) and my drummer Jamie Ford, and they’re two people who I love working with. We were just jamming in my garage and we came up with the music, didn’t think much of it. Then we just couldn’t stop thinking about the song, so we worked on the lyrics and it developed into something that’s so fun and uplifting. I loved the process of writing this song, and I think it holds happy memories for me – it makes sense that I started my EP campaign with such a positive force. This EP has been a really positive and exciting experience for me, it feels right that we started with ‘waiting on time’, a song about waiting for the right moment. It felt like the right moment to release it. This is a favourite to play live. Growing up in Cheshire, a stone’s throw from Manchester, you have undoubtedly been surrounded by some of the richest musical culture in the world: The Stone Roses, Oasis, Take That, The Chemical Brothers and on and on… Do you often find yourself feeling romantic about your life there, and does that energy bleed into your sound? I spent so much time in the city and it inevitably has had an influence on who I am and my sound. I am very proud to be Northern and proud of the musical history we’ve got. I’m definitely inspired by that Northern grit which is in so much of that music, I think music made in Manchester has a lot of soul and I hope that type of energy bleeds into my sound. Your latest single, ‘quiet thing’, explores the understated moments in relationships. Can you discuss how personal experiences shaped the storytelling in this song? So this song was inspired by a conversation I had with a close friend who had recently lost their mum. They were telling me that their relationship with their girlfriend was ‘quiet’ right now, but that it was getting him through that period. It made me think about how we always romanticize the big moments in relationships, when actually sometimes the most romantic moments are the quietest ones. You’ve mentioned the intention behind pairing the sweetness of the lyrics with gritty instrumentation in ‘quiet thing’. What was the creative process behind achieving this musical contrast? I didn’t want to write a ballad, I wanted to write a love song that people could dance to. The gritty guitars naturally make ‘quiet thing’ less ballad-like, and that was our intention when producing the song. Your debut EP, ‘heading into blue’, produced by Mike Hedges, is set for release on March 28th. How did collaborating with Mike, known for his work with artists like The Cure and U2, influence your artistic direction? Working with Mike is still a big pinch-me moment. With everything he’s done, I was a bit in awe of him to start with – and still am! – but he’s the loveliest person to work with, really encouraging and insightful. And his influences had a massive effect on the music. There was a night we were talking about Fender bass amps that were used in some of his Cure records and we were like, we have to bring them into these songs. The EP includes previously released tracks ‘waiting on time’, ‘carnival’, and ‘what a day’. How do these tracks collectively set the stage for the overall narrative or emotional arc of the project? They’re a taster of what better joy’s all about. They were all written at that point in my songwriting journey where I was starting to believe in myself as a writer and each song holds a special place in my journey. This EP feels like the first introduction to better joy. Two new tracks, ‘couldn’t run forever’ and ‘can I land the plane?’, are debuting on this EP. Could you provide insights into these songs—what inspired them, and how do they enhance the story of ‘heading into blue’? With Couldn’t Run Forever, I had no intention
New Single: Josie Oliver “Standstill”
New Single: Josie Oliver “Standstill” For fans of Holly Humberstone, Gracie Abrams and Maisie Peters, Josie Oliver is an artist that should be on your radar. The 22-year-old Midlands-raised singer is quietly but surely making a name for herself in the alternative pop and indie world, and her latest single, Standstill, released on 26th February, does not disappoint. 9 March 2025 Words by Sophie Prior Currently Listening to: https://www.youtube.com/watch?v=nyapY-A26tw Standstill is a captivating bedroom-pop ballad with heartfelt lyrics and exciting production. The track opens with Josie’s angelic voice singing the chorus line with lyrics that perfectly encapsulate the song’s message: ‘we’re running out of road, and I don’t want to let you go. So I’ll just sit and hope, we get caught up in a standstill’. Josie explained that the song is about that ‘feeling of knowing you should let go but wanting so badly to just stop in time and savour it’. These confessional and poignant lyrics, combined with layered vocals that firmly place the listener in an electronic and hazy soundscape, make the opening even more of an emotional punch to the stomach and completely draws you in. The rest of the track continues to experiment with this bedroom-pop feel, gradually introducing a steady beat, mellow piano chords, and synth sounds. Josie’s vocals are always at the forefront however, creating the feeling that she is in the room singing to you. Her poignant storytelling is something she has been praised for, including personal co-signs from stars Sam Fender and Griff who found their own love in Josie’s music. The track culminates with an emotional bridge rooted in a soft-rock style with power chords on the electric guitar and a build-up in the drums with the addition of a live kit. I like the ending of the track too, which goes back to the opening melody, but this time with just the singular vocal line and the piano chords. Reverting to the opening nicely frames the track; you’ve been taken on this tumultuous journey full of feeling before being brought back to where it all began – the realisation that you’ve run out of road and need to let go. Although only being 22, Josie has built up a loyal following, establishing over 500,000 streams across four further singles. She is authentic and knows the vision for her music, focusing on her natural talents of meticulous songwriting and confessional storytelling, and on her growing reputation for being a great live performer. Alongside the release of Standstill, Josie announced that her debut EP Listen To This When We Buy A House will be released on 28th March. Get ready! 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’.