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 – 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
GIG REVIEW – SOFY @ The Grace, Islington – 4th Dec 2023
GIG REVIEW – SOFY @ The Grace, Islington – 4th Dec 2023 Fresh from the release of her outstanding debut mixtape, Leicester’s very own SOFY has kicked off her supporting tour for “Chaos & Commotion.” I was fortunate enough to attend the first night of a three-date residency at The Grace in the heart of Islington. 05.12.23 Words by Scott Rudd The evening began with a couple of Super Bocks and a fantastic opening set by Dublin-based artist and producer Chameleon. His fusion of indie and melodic hip-hop created vibrant and breezy vibes as the room slowly filled in anticipation of the main event. After a brief half-hour break, SOFY and her accompanying band took the stage, receiving rapturous applause from her dedicated rat army. She delivered a stacked setlist, encompassing every track from ‘Chaos & Commotion,’ the majority of tunes from both ‘Bored In Colour’ EPs, and a beautiful rendition of Paramore’s ‘The Only Exception.’ Her vocals ranged from powerful to tender with effortless grace. The band skilfully recreated the crisp studio sound, maintaining that quality on stage while incorporating exciting new instrumental breaks that pleasantly took me by surprise. The performance kicked off with ‘Yoyo,’ instantly sparking excitement and engagement from the crowd, who were in top form with their participation and encouragement. Throughout the show, I couldn’t shake the feeling that this performance deserved a larger stage. This isn’t to diminish The Grace; cosy shows often surpass arena performances. However, I couldn’t help but envision this set easily filling out the nearby venue, The Garage. It underscored SOFY’s confidence as a performer, suggesting that a jump in capacity wouldn’t faze her and, if anything, would enhance the show’s atmosphere. A pleasant fluctuation in tone helped balance out the intensity of the show, with more solemn and focused songs like ‘Fiesta’ and ‘No Drama’ strategically placed between the rowdier tunes such as ‘Timothée Chalamet’ and ‘Ashley Cole Type Beat.’ This thoughtful arrangement prevented the sense of time from moving too swiftly, leaving me thoroughly satisfied by the end. The encore, featuring the previously mentioned ‘The Only Exception’ by Paramore, ‘Socks,’ and ‘Supermarket,’ sent the crowd away in high spirits, concluding an exceptionally grand time at The Grace. Sofy generously joined the crowd after the show, expressing sincere gratitude to attendees, taking photos, signing records, and engaging in chats with fans, myself included. The remaining tour dates include two more nights at The Grace, followed by shows at Leicester’s Y Theatre and concluding at Manchester’s Yes Basement. If you have the chance to attend any of these upcoming dates, I highly encourage you to do so. You Might Also Like
NEW SINGLE RELEASE – Home Counties ‘Wild Guess’
NEW SINGLE RELEASE – Home Counties ‘Wild Guess’ Indie-fans, we have good news for you: The London-based band Home Counties is back with a new single and a new album announcement! 04.12.23 Words by Céline Galletti https://www.youtube.com/watch?v=o2wEIO047ec Their new song “Wild Guess” is not afraid to experiment: synth music, guitar, rhythmic beats and soft vocals are married together to produce an irresistibly catchy rhythm. At points, the amalgamation of different sounds will be almost cacophonical, but the band manages to make it all work perfectly together and create a very rich musical universe. Clapping, maracas, whistles, soft percussions, choruses and synthetics give rhythm to the main singing voices, a male/female duo that harmonises together beautifully. I challenge anyone to try not to dance along, I guarantee that it will be extremely difficult. But don’t get fooled by the cheerful rhythm, as the lyrics are drastically more bitter. The band reportedly wanted to give voice to the shared fears of young generations by exploring their own various anxieties. They ask us the enigmatic question “In what way do you suffer?”, giving for granted that we are in fact suffering, and inciting us to name our fears. They talk about the fear of old age, of life passing you by, of financial responsibility and phone addiction, and create a parallelism with ecological catastrophes, thus echoing a lingering ecological anxiety: “Like a river full of dirt, I’m hurt, has we burn”. The tonal contrast between the lyrics and the rhythm creates a bittersweet ironical tone: after all, it is better to sing about your problems than cry about them. Home Counties are the voice of a generation, and what a harmonious voice that is. Their full EP “Exactly as it seems” comes out on the 3rd of May 2024, and they will be touring in the UK from the 7th of May onwards. This marks their comeback after a couple years off the radar, and the band is clearly fresh of new ideas and creative inspiration. Give them a look if you want something to brighten up your winter playlist, and keep up with their newest updates on their Instagram @homecountiesband. You Might Also Like
INTERVIEW – Willow Beggs ‘The Muse’
Photo Credit: Laura Braithwaite (@SeekHappyDays) INTERVIEW – Willow Beggs ‘The Muse’ Willow Beggs is a 21-year-old Bedfordshire-based artist and spends her time as a studio musician, bass player, a member of The Beggs Sisters and a solo artist. 01.12.23 Words by Genevieve Pughe https://www.youtube.com/watch?v=ZZY4WLXRSAI A talented artist in many ways, she also has studied fine art, potentially a clue towards inspiration for her new track ‘The Muse’. The song echo’s themes of misogyny and is partly based on the infamous statement from Picasso that women, to him, were either ‘goddesses or doormats’. But now we get to see the perspective of The Muse, who is always looked at but never seen. It was a pleasure to get to speak with her about her creative process, experiences, and her new track The Muse. How long have you been focusing on your music, and what kicked it all off? I want to say in the last 5 years, I’ve started to really hammer down and put my focus into it. I’ve always been interested in music, with my dad being a musician. Then I went to university and focused on my fine art for a long time, and I never really found the time to put all of my energy into it. But recently I decided, this is what I want to do so why don’t I just start now? What really inspires your writing process? Things that inspire me are just the everyday, mundane thing. Just being aware of everything that’s around me. I can think quite existentially sometimes, which can be overwhelming, but I think it’s quite important to channel those thoughts into art so that’s what I do. If I get inspired by something morbid, like fear of death, I want to try to put that into a song. I’m also inspired by anything I see in the media. If anyone says something that interests me, I’ll put it in my notes on my phone or put it in a song lyric. If you go on my note’s app, it’s just filled with random jotted down sentences. Are there specific musical influences which inspire your music? Billie Eilish is an obvious and big influence. I’ve always been a fan of her music, and I love that it’s so mainstream and pop, but also so heartfelt and sad at the same time. Dodie Clark as well, I used to be obsessed, and followed that obsession from a young age. Matt Maltese’s music is great, and Imogen Heap also is a genius and huge influence. I would say Hide and Seek is probably one of my favourite songs. Photo Credit: Laura Braithwaite (@SeekHappyDays) How do you find performing? Have you had a favourite venue, or a favourite performance? It’s hard to remember all the venues I’ve played at! Brighton Dome is probably my favourite I’ve performed at as that was our first gig as The Beggs Sisters, so you can imagine my mind and nerves at that moment. I would also say the Black Lion, our local pub, is one of my favourite places. It’s really intimate, homey, and comforting. Very good vibes. It’s always really comforting to see familiar faces, and kind of feels like there’s less pressure involved. One of my goals in particular is to go on tour. Whether as a solo artist, session musician, in a band or playing bass, I think my ultimate goal is just to get to go touring. Or to play festivals, they just look like so much fun and I would love to do that one day. You perform also with your family, could you tell me a bit about that? Yes! I perform in a band with my dad Nick Beggs and my sister Lula, called The Beggs Sister. A lot of people think that it’s just me and Lula as The Beggs Sisters and my dad just plays bass in the band. We have a running joke where he always says he’s just the ugly one. Whilst working on my own EP I have also been investing a lot of energy in our outcoming EP for January, as well as our gigs we have been doing recently. Our next one is at 229 in London. Our preshow ritual is mostly just blasting Man Down by Shakka and having a boogie to get rid of nerves. Lula and I tend to write separately, and then build on each other’s work. We write about similar ideas; she came to me the other day saying she wanted to write a song about the menstrual cycle because ‘I’m sick of my period!’. So, then we started collaborating on that idea which has been really fun. It’s so nice to have her with me, because she also grew up wanting to be a solo artist and she told me first hand how difficult it was being a woman in the industry. Photo Credit: Laura Braithwaite (@SeekHappyDays) Would you say your family inspires you a lot? Yeah definitely, you take inspiration from everyone around you, and you just cut things that you like from certain artists and make them your own. A nice composition of everything that you love. You mention about it being difficult for women in the music industry, can you expand on that? Well for instance, I have found that when I’ve played bass in other people’s bands, and we’d be doing soundchecks, being in an all-female band at times it can be quite intimidating. Especially when a lot of the sound engineers, who have been male, have been quite patronising and talked to us like we don’t know what we’re doing, that can be quite difficult to navigate. Being a solo musician is scary, let alone being a woman in the industry. There is still a lot of work to be done. I am excited to talk to you about your new track The Muse. Was the inspiration conceptual or personal? A lot of it was conceptual but
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 – Dea Doyle ‘One For Me’
NEW SINGLE RELEASE – Dea Doyle ‘One For Me’ 21.11.23 Words by Hannah Fitzhugh ‘This is a song about finishing someones Guinness and having no idea what was about to begin.’ https://www.youtube.com/watch?v=4rxZtRfpVlA Dea Doyle tells a story of unexpected love in her new single, ‘One For Me’. The West London singer songwriter uses feminine, up-beat melodies and candid lyricism to create this feel-good track that perfectly captures the spontaneity of falling in love; ‘I never thought I’d be here, when I sat with you and I finished your beer.’ Dea’s strong British accent and dialect emphasises her music style and adds a Lily Allen like charm to the record. ’I can’t help but slate your accent but I wouldn’t change it for one second.’ The artist claims to have also drawn inspiration from Katy Perry’s earlier, ‘One of the Boys’, era, with her direct song writing methods. The simple but effective chorus, ‘Oh I think you might be, the one for me,’ cleverly demonstrates that less can be more whilst conveying the feelings of hope and lightheartedness that make this track so compelling. Growing up in a creative household surrounded by musical influences, the singer has had dreams of becoming an artist ever since she was a little girl. ‘One For Me’ is Dea Doyles fourth official single, however Dea wrote her first song when she was just 9 years old- so it is no coincidence that the emerging artist has got our attention. It seems that those dreams are now becoming a reality and we can’t wait to hear what she does next. The single is out on all major streaming platforms now and you can keep up with Doyles upcoming projects on her Instagram linked here. You Might Also Like
INTERVIEW – Headshrikers
INTERVIEW – Headshrinkers 20.11.23 Words by Gracie Rogers Black Country post-punk band Headshrinkers are back with their latest track, ‘Plasticine’, dwelling on all things AI, internet hellscape and modern day musical algorithm brain-rot. https://www.youtube.com/watch?v=ZAUF4akN9iU With Garran Hickman’s poetry layered over Xavier Al-Naqib’s gritty bass and James Knott’s soaring guitar, and Scarlett Churchill’s skilful drums, the track is a brilliant insight into their upcoming EP. I sat down with Garran to talk about the future of the band, and the story behind ‘Plasticine’. Let’s start with a little about ‘Headshrinkers’ as a group. What brought you guys together? And where did you get the name? Hi, Garran here. What brought us together? Hmmm, I think James and I shared the same musical taste, we’ve known each other for years but one of the reasons we started the band was because we had the same music taste, and obviously we wanted to make music. Bands like The Libertines made us think we can do this. Funny actually, James and I sat down with a beer last night and watched the new Peter Doherty interview with Louis Theroux. Also, I believe it was because we were raised in the same place, so I kind of think our values and goals are pretty aligned. James knew Xavier through a friend and we brought him in after we’d wrote a few songs, and Xavier knew Scarlett from school so she joined soon after. We don’t really have an explanation as to where the name was created, it’s hugely boring I know, but that’s the truth. You’ve got a very distinct sound. How would you describe it, and where did it come from? Our sound is very natural to us. It’s not contrived, and we don’t try and sound like anyone or anything, I think it’s the combination of all our music tastes being powered into one pool of pure rapture. People can hear many influences, but I like to think they can take what they want from it. We’re just huge music fans and want to create the something equal in quality with those we admire. Biggest musical influences? We like such an array of music, it’s really hard to pin down what we are inspired from, the others may tell you different but, if I had to pick two bands I love, it’s The Pogues and Toots and the Maytals. Image taken from new music video ‘Plasticine’ Let’s talk about ‘Plasticine’. Where did the song begin? What was the process? I think Xav started the song by playing the Bassline on it, I think he told me he took inspiration from Too Real, Fontaines D.C which is another band we admire. I already had the words written as two poems from my collection of words in my book, but as for the chorus, I wrote that to the track when we were piecing it together in the rehearsal studio. What is your source material when writing lyrics? It’s my observations, thoughts and feelings. I wouldn’t ever write about something I have no link to whatsoever, not too sure it’d be in touch to do so. When I get truly into an artist and become a fan, I have to believe them. For me, music is the truest form of expression. You’ve got some exciting gigs coming up. How do you feel about live performances? Which gigs are you most looking forward to? Any dream venues? Yes, we love playing Birmingham, and it’s always a great turnout. Nice to play to some local fans who can’t make it to our Black Country gigs. We love playing live, it’s what it’s all about. I spoke earlier about music being the truest form of expression, well, being able to play live cements that for me. Especially because I write words, I’m able to express my words to an audience like I’ve got something to say whether it’s about me or the world. I’m not just rambling on about the same old beige thing. I don’t know about a dream venue, I like playing in Europe, I culturally love the EU, lots of untouched history, makes me happy when I’m there, especially the antique shops, cheap beer and cigarettes. Also, since I found out I have French descent, I am itching to get back in France. I have to ask – are there any plans for an album in the future? What would that look/sound like? We have an EP out next year called ‘Judgement Day’. We go into the studio in January to record the final two songs. What does it look like? Just us four being best mates, and still making music we love. To round off with a juicy question – who is your dream collaboration? For me, Shane McGowan will always be the person I’d like to write a song with. Headshrinkers’ new single ‘Plasticine’ is out now, and ‘Judgement Day’ will be released in 2024. You Might Also Like
DEBUT SINGLE RELEASE – Ladylike ‘Southbound’
DEBUT SINGLE RELEASE – Ladylike ‘Southbound’ 18.11.23 Words by Abraham Lindohf Brighton’s emerging musical force, ladylike, is unveiling their captivating debut single, ‘Southbound,’ https://www.youtube.com/watch?v=Htobw_glMJg Promising a sonic journey reminiscent of acts such as Fleetwood Mac in their more folk-inspired era or Boygenius with their fuzzy guitars, ladylike, intricately weaves the landscapes of folk, post-rock, and psychedelia together. The quartet has skilfully crafted a mesmerising, slow-burn piece that draws parallels to the delicate reflections found in Big Thief’s work, seamlessly transitioning from contemplative moments to full-blown, powerful psychedelia with dramatic twists and turns. The single employs a unique stream-of-consciousness approach to songwriting, shedding light on the mundane moments that define our existence. I hope to see this continue in the band’s upcoming work as the more conceptual and often evasive lyrics allow for an array of understandings. In a poetic exploration of the awkward nuances of life in one’s twenties, Lead vocalist and guitarist, Georgia Butler, shares that the song serves as an ode to the challenges of finding one’s place in the world during this transformative period. Its narrative unfolds abstractly, incorporating internal musings and anecdotes as the music evolves. As mentioned by Butler, “We weren’t entirely sure of the song’s intent until we’d finished it.” which I believe sets ladylike aside from their contemporaries. Having established themselves in Brighton’s vibrant counter-culture scene since their formation in 2022, ladylike has meticulously honed their sound over 18 months through a series of dynamic live performances. This sets them apart from other groups which aim to rush out a single before having played at a single venue, ladylike know their sound and methodology, and I think this has paid off. Having performed with notable appearances at Triptych and most recently supporting ĠENN on the 13th of October. Impressively, ‘Southbound’ was recorded at Farm Road studios while being produced/mixed by the band’s own Spencer Withey, which I imagine allows them to showcase their distinct musical identity. Having recently featured on Crafting Room Recordings’ Brighton Sound 2023 compilation alongside local favourites like Hutch, Flip Top Head, and, ELLIS-D, ladylike has supported acclaimed acts including Divorce, The Paranoyds, Lorelle Meets The Obsolete, Rosie Alena, and ĠENN. Their presence at the Clunk Magazine stage during this year’s Alternative Escape further solidified their rising status. Comprising Georgia Butler (Guitar, Vocals), Spencer Withey (Guitar, Synth, Backing Vocals), Archie Sagers (Bass), and James Ely (Drums), ladylike is set to self-release ‘Southbound’ on November 17th. The single launch show is scheduled for November 22nd at Brighton’s Green Door Store, followed by a performance at London’s The George Tavern with Dog Race on December 13th. You Might Also Like
INTERVIEW – Izzy S.O Releases EP ‘Silly Me’
Photo By Cara Kealy INTERVIEW – Izzy S.O Releases EP ‘Silly Me’ 17.11.23 Words by Natasha Judge Izzy S.O is back with her sophomore EP ‘Silly Me’, a five-track release with new tunes ‘Growing Pains’ and ‘Do I Make You Feel Alive Yet’, which join the catalogue of reassuring coming of age songs. These tracks join recent singles ‘Would We Make It’, ‘Without You I Don’t Like Sundays’ – as well as title track ‘Silly Me’, which cleverly encapsulate the conflicting emotions of growing up and discovering who you want to be. Speaking about the EP, Izzy expressed that she likes to draw on her emotions during the songwriting process. She said: “I always like to write about how I’m feeling in the moment, and I think that’s been the overriding theme over the past few years is the complex emotions that come with growing up. “The change, the confusion, questioning who you are and what your childhood was really like looking back at it with a different perspective. “When the fear of life kicks in, you notice the things you cling to and then when you let go of the fear, what are the things that you actually want to keep around – who and what actually makes you feel good.” Impressively, Izzy’s creativity has been a constant in her life and she has been writing songs, short stories, and poetry since the age of seven. Izzy, said: “I don’t really think one came before the other, but I did cut music off for a bit as there was a lot of negative emotion around it and so poetry felt like a calmer outlet to process emotions. “But then as soon as I started properly writing songs again it was like I had all these songs stored in me that had been waiting for me to write them – writing is my favourite thing about music.” Newly released track ‘Do I Make You Feel Alive Yet’ has a distinct Avril Lavigne feel to it with a catchy guitar riff, whist taking a more sexuality focused approach lyrically. The song pushes back against judgement which can be often shown against women for promiscuity and instead depicts feelings of owning passionate desire. Photo By Cara Kealy When approaching the writing process, Izzy stated how some tracks start as poems or a voice note on her phone. Izzy, said: “It will just be an idea that pops into my head when I’m doing normal life things and then I’ll take that into a writing session and turn it into a full song. Or, I’ll go into a writing session with nothing, and we’ll play a few things and then I’ll start writing stuff down and see what emotion it sparks.” The ‘Silly Me’ EP certainly has a nostalgic 90s feel with Nirvana and Alantis Morissette as big inspirations for Izzy S.O, as she admires the way they bring humour into lyrics so you’re not entirely sure of their perspective. Izzy, added: “The main thing with the track ‘Silly Me’ itself was leaning into the fun and chaos around a situation. “I think the melodrama of it was important to give me the freedom to say whatever I wanted without having to censor any of the lyrics.” Photo By Cara Kealy The new body of work, which is a mix of alt-rock and indie genres, was created alongside producer Dustin Dooley. The pair are already working on the next EP with hopes of releasing a single in the new year. Izzy recently played the new tracks at her EP launch at Strongroom in London. Accompanied with friends, she found it to be a fun experience and feels the live shows are starting to get a rockier edge. She said: “I think the new tracks bring a whole new energy to my set. “I was so scared to sing ‘Do I Make You Feel Alive Yet’ because it’s quite hard to sing but in a way, I think that fear made me decide to not care and just really go for it. “People were shouting along and dancing, by the end a few people actually screamed at me, it made me realise just how fun a live show could be.” Staying in Strongroom until close, the ‘Silly Me’ celebrations continued with a dance in Sunset Bar and plans are in the works to continue celebrating the release weekend in Edinburgh. Looking forward, Izzy expressed her excitement for the next instalment of songs and figuring out new sounds, as well as more gigs in the pipeline. From navigating love, acceptance and all the feelings in-between and as new track ‘Growing Pains’ portrays the loss of the “safety net” from teenager years to adulthood. Izzy S.O is an artist to watch and the EP makes as a healing soundtrack to validate any feelings of existential fear of growing up or developing as a person. The Silly Me is out now and can be found here: LINK (https://ditto.fm/silly_me). You Might Also Like