˗ˏˋ New Track ˎˊ˗ Viji feat. Me Jesmai – ‘BAILEOKE’
˗ˏˋ New Track ˎˊ˗ Viji feat. Me Jesmai – ‘BAILEOKE’ Viji spices things up in her EP with a new mesmerising single inspired by Brazilian funk. 18.06.24 Words by Céline Galletti https://www.youtube.com/watch?v=ABAa24fMN3k Viji, aka Vanilla Jenner, is making waves with BAILELOKE, the lates single of her EP ‘So Vanilla’. This release marks another significant milestone in the emerging artist’s career, who abandons her indie-rock roots to take a bold step into experimental Brazilian funk. Inspired by her Brazilian heritage, the track’s rhythmic beats, percussions, screams, and overlapping suave vocals create a vibrant and irresistible musical universe that captures the essence of her innovative spirit. The young artist’s diverse influences are a testament to her unique style and sound. Her passion for subcultures such as skate, emo, rave, and otaku, her admiration for Avril Lavigne and her obsession with ‘Baile de Favela’ by MC João – these influences are more than obvious when we look at her single and more broadly her style: sexy, street, grunge and provocative. She embodies the spirit of a ’90s rock star combined with the edgy, fashion-forward attitude of a Bratz doll. Yet, despite these clear influences, Viji manages to infuse her work with a fresh and innovative twist, making her music unmistakably her own. BAILELOKE stands as a perfect example of her exceptional creativity and ability to blend various genres. Viji debuted in the music scene with her single ‘Cherry’ in 2020. Since then, she has rapidly evolved into a fully-fledged singer and songwriter, constantly pushing the boundaries of her craft. Her journey reflects a relentless drive to challenge perceptions and grow both as an artist and an individual. Her new EP, So Vanilla, showcases this evolution, proving that she is anything but plain. By embracing Brazilian funk, Viji pays homage to her heritage while also introducing a fresh sound to her audience. This blend of tradition and modernity is a testament to her skill as an artist and her dedication to creating music that resonates on multiple levels. As she continues to grow and experiment, there’s no doubt that Viji will keep surprising and captivating her listeners. Her journey is a fascinating one to watch, and BAILELOKE is just the beginning of what promises to be an exciting and dynamic career. View this post on Instagram A post shared by Vanilla aka viji (@vijiwater) You Might Also Like
. ݁₊ ⊹ New Single Release ⟡: Gaffa Tape Sandy “Dead to Me”
. ݁₊ ⊹ New Single Release ⟡ Gaffa Tape Sandy “Dead to Me” High Octane New single from Brighton Garage Rock Trio 23.04.24 Words by Thomas Heath https://www.youtube.com/watch?v=gHMM1_h1cUw “Something loud and exciting” is Gaffa Tape Sandy’s description of their motivation for music, and nothing sums that up better then their latest single ‘Dead to Me’ – released ahead of their debut album ‘Hold my Hand, God Damn It’ dropping 31st May. Being a grimy punk at heart, I’m 100% biased. But the single slaps you with an addictive, punchy uproar that takes modern punk back to that shady corner of your local pub. It’s simple, it’s effective and it makes you want to get out of your seat and move like your life depends on it. Inspired by the likes of Idles and Art Brut, their sound is local and infectious. It’s got the edge you’d expect but also pushes an authentic rock’n’roll feeling. A welcome new take on a familiar formula, an uplifting and energetic mood working to keep the sound bright. It’s also getting them noticed. Following their previous EP ‘Spring Killing’, they received a slot at Glastonbury 2017, followed by an inclusion on NME’s 100 essential acts of 2018 listing, as well as gigging on national circuits since. They obviously graft and it shows in their sound, listening to them is like being ‘live’. This track in particular embeds the pure energy of their art, mixing punky shouts with the simple but memorable guitars and drums – even throwing in a grungy outro that settles you down before the next song. You can listen to Dead to Me on Spotify right now, with their debut album ‘Hold my Hand, God Damn It’ also available for pre-order ahead of release in May. Playing Brighton, London, Edinburgh, Glasgow and Leeds from 31st May onwards, you can also see Gaffa Tape Sandy do their thing for yourself – and I reckon they’ll do it amazingly. View this post on Instagram A post shared by GAFFA TAPE SANDY (@gaffatapesandy) You Might Also Like
⋆*｡ ࣪Gig Review ⋆*｡ Punk’s Not Dead. SPRINTS are Proof.
⋆*｡ ࣪Gig Review ⋆*｡ Punk’s Not Dead. SPRINTS are Proof. The Dublin garage rockers sell out (and absolutely smash) their largest headline show to date. 22.04.24 Words by Sophie Abbott “I took my first pill here.” Karla Chubb is referring to London’s world-famous gay nightclub, Heaven, and a wave of understanding laughter ripples through the crowd of a thousand-odd people, echoing in the venue’s stone arches. Heaven is aptly named—it’s a place where Londoners lose cell phone service and their inhibitions, letting themselves movewherever the night takes them, fully concealed from the bustle of Charing Cross Station overhead. The last time I was here, Jagerbombs were still my drink of choice, and Adele was seated in the rafters before joining the drag queens onstage to judge a Thursday night strip tease. Tonight, however, Heaven is a temple dedicated to punk rock. In January of this year, SPRINTS quietly released one of the loudest, most impressive debuts of the year—one that has fought the test of time and raised its voice even louder as the months tick by. Letter to Self is a furious baptism into 2024, a raucous, energetic ode to the power of anger and the collective exorcism that comes withscreaming at the top of your lungs in a room full of people. Riddled with religious imagery and self-referential rage; listening to this record feels like telling lies in the confessional just to see if you’ll catch on fire, and halfway hoping you might. SPRINTS repeatedly reinvent themselves, experimenting throughout the album: they borrowmetallic screeching from industrial rock, a few shoegaze guitar tones, and lyrics reminiscent of riot grrrl feminist punk, all while crafting something wholly individual. Seeing the album performed live is a similar experience, even from my position toward the back of the sold-out show. “How much can you actually see?” The man beside me asks. “I nearly, nearly wore my high heels for this.” In the end, it doesn’t matter what glimpses of SPRINTS we can catch or not; their energy reverbates in relentless waves of cathartic noise. They employ continual riffs to keep each track flowing seamlessly into the next, making the entire show one dizzying, full-circle experience—one which their lyrics reflect, too. “Am I alive?” Chubb screams on “Ticking,” the opening track on Letter to Self and one of the first songs on tonight’s setlist. Bassist and vocalist Sam McCann chants along, chords dropping in heavy succession, while drummer Jack Callan attacks the kit and guitarist Colm O’Reilly rages against the electric. This moody mess of crowd and performers continues throughout SPRINTS’ run of Letter to Self, with the album’s titular track inciting a chorus of “I am alive.” The record is a mirror image, an answer to its own opening question, and a reminder to all of us. Standing in a gay club on a Wednesday night, rocking out to the up-and-comers, yeah, we are alive. The relevance of this messaging is not lost on Chubb, who takes a moment to acknowledge the ongoing crisis in Palestine, the attack of transgender rights brought on by the UK government, and the necessity of punk-rock ideals in 2024. “We want to be a unifying voice against all that bullshit,” she says. “SPRINTS is about making noise for shit that fucking matters. If anyone has something to say against you, send them in my fucking direction. Make noise, enjoy each other.” The last songs of the night rip past in a torrent of light, sweat, and movement. During “Little Fix,” a track off of 2022’s A Modern Job, Chubb bodysurfs without missing a single note, her voice tearing through Heaven, hundreds of hands propelling her away from the stage and then back again. When the band disappears and the lights come up, everyone wears the familiar half-dazed smiles you only seem to get from a successful punk show—SPRINTS dove into the music and took us with them, and now that we’re coming back up for air, nothing looks the same as before. View this post on Instagram A post shared by SPRINTS (@sprintsmusic) You Might Also Like
✩⋆.˚ Interview ⋆˚｡⋆✩: Twin Skeletons
✩⋆.˚ Interview ⋆˚｡⋆✩: Twin Skeletons “I think sweat is definitely a word associated with our gigs” – an interview with Twin Skeletons about their new EP ‘Is This What You Wanted?’ 18.04.24 Words by Caitlin Taylor https://www.youtube.com/watch?v=r0X5uNIBl-0&list=OLAK5uy_mTLG3I0pCvOcInzxFUWpuulGY_QHhMGMk Twin Skeletons are a rock band who have been influenced by metal, punk, and even Y2K pop songs. They’re fresh off an EP release and a couple headline shows, starting to make waves across the UK and beyond. Earlier this month I sat down for a zoom call with them where we discussed their music, the atmosphere of their gigs, and the importance of grassroots venues. I begin with a question that’s been on my mind since I first heard of the band: is their name a Fall Out Boy reference? “Ah,” says drummer Joe Gorfin, “Yeah, people keep picking up on this… We were actually originally called Decades when we were a cover band and sort of didn’t think it fit the vibe that well so I remember messaging James… going through our playlist looking at song titles and I saw that song… everyone seemed to like it and it kinda stuck so now it’s become the whole theme with all the music and the artwork as well. It’s a bit of a deeper cut. When I was 13/14 I was obsessed with Fall Out Boy.” He even reveals his snapchat username contains a reference to Fall Out Boy but they request I don’t reveal it so you’ll just have to speculate. View this post on Instagram In their previous life as a cover band, they remember playing many of the songs that inspire them now (“Muse, Royal Blood, Wolf Alice, bit of Paramore”) but also playing around with genre. “We love a ‘pop goes rock’ cover,” says lead singer Phoebe Millard. ‘Umbrella’ by Rhianna and a metal version of ‘Toxic’ by Britney Spears are both specifically mentioned. We move onto their EP release show that has just passed. It was their first ever headline show which they impressively managed to sell out. “Best night of my life!” Says Phoebe. “It was so fun, just having a room full of people all singing the songs back to you… The first single we released ‘Deadweight’, when we played that as the last song, I did a sort of, like, sung a couple of lines and then got the crowd to sing it back to me… when everyone was singing it, it was just amazing!” James Millard – who is both Phoebe’s brother and the band’s guitarist – chimes in, “It was kind of surreal, as well, because we had like lights that were timed with the music and like, a proper sequenced walk on. And like Joe walked out first. And he leant back, put his arms up and everyone went mad. It felt like a real band.” Bassist Fred Tilbury nods along: “We all put a lot of work into it and just to see it pay off like it did was really sort of gratifying.” View this post on Instagram Despite them doing a great job of explaining the energy of the gig, I ask if they can give us any more details about what they’re like onstage for those of us who haven’t had the chance to see them yet. Joe starts: “Lots of energy, that’s the main thing… we don’t give people much time to take a break.” “Be prepared to get sweaty!” Phoebe adds, “It was so hot in that room.” “I think sweat is definitely a word associated with our gigs,” James replies, “And dirty shoes, don’t wear nice shoes. I let them know that my favourite song on the EP was ‘Don’t Let It Be The End’ (which seems to catch Phoebe off guard as she audibly gasps) and ask for each of their favourites. Both James and Phoebe settle on ‘Make Me’. “[It’s] always been my favourite,” she explains, “just because it’s like the most experimental song with all the sort of more electronic stuff. And the sort of screaming, loved getting in the vocal booth in the studio and actually just being told to shriek like I’m getting murdered!” View this post on Instagram “‘Deadweight’ and ‘What You Wanted’ were done ages before we started recording but ‘Make Me’ was kinda- we knew we had to finish it for recording. So it was kind of a challenge to get it done. And it went through three iterations, being three completely different songs. [It] started off being a groovy Queens of the Stone Age song. And then we wanted to keep the groovieness in the verses, but then we wanted a massive riff… and probably Joe will say, like, the drums for this one were really challenging to record, but they paid off.” James says. Joe explains further, “We basically recorded the symbols and the drums separately, to sort of get a better overall sound. So that’s yeah, quite confusing to try and do. But like the guys have said, it was fun to do something a bit different, sonically as well.” However he disagrees with them on his favourite song from the EP: “There’s something about ‘Deadweight’. It was the first one we wrote and released. And, yeah… I think we’re really happy with how it turned out. But also, I think, for me, ‘(Don’t) Let It Be The End’ has also got a bit of a special place, because I think that was the one that I probably wrote the most of out of all the songs. And that was quite fun to sort of experiment with stuff like orchestral elements and things like that.” Fred agrees with Joe, “It’s hard to choose, but I’d probably say ‘Deadweight’, just ‘cause I think I just love the chorus on it. I think it’s really catchy. And I love the riffs in it… It’s definitely the song I was most comfortable going in to record, which was nice. It took a
˚₊✥ ｡ ˚New Single Release ｡✥ : Mother Said “Stigmata”
˚₊✥ ｡ ˚New Single Release ｡✥ : Mother Said “Stigmata” A story about lying and cheating your way to the top and becoming a self-proclaimed martyr to the soundtrack of a powerful bass line. ‘Stigmata’ truly has It all. 12.03.24 Words by Jamie Shovelin https://www.youtube.com/watch?v=3xngrxChkw8 Mother Said has released their third single ‘Stigmata’. Following the trend with their previous single ‘Catholic Guilt’, the band is keeping in theme with the religious imagery. The song name itself is a term from Christian mysticism meaning bleeding, scars, or pains corresponding to those of the crucified Jesus Christ, that is on the hands, feet, near the heart, and sometimes on the head (to signify the crown of thorns placed on his head) or the back/shoulders (signify the carrying of the cross). The song tells the story of a public figure proclaiming themselves as a modern-day martyr after stealing and cheating their way to the top of the point of success. The single itself gives the feel of classic new age and punk music, not only musically but also the meaning and imagery used to promote the song. The song starts with an amazing, isolated bass riff before being accompanied by the rest of the band. Although the lead guitar takes centre stage musically you can still hear the bass riff subtly in the background which adds to the song. The cymbals repeatedly being hit throughout the bridge of the song and then being accompanied by a build-up in the drums helps to add to the breakdown of the chorus and match the vocals. This is best displayed at the big finish at the end of the single. The band’s vocals work really well for this type of song, the layered low voices from the two lead vocalists throughout the verses work incredibly well with the prominent bass riff as mentioned before. Pair this with the male backing vocals in the chorus of the song while the leads are almost shouting over them, and with the ending of the song having all of them loudly shouting over each other. Mother Said knows what works for their vocals and how to complement each other perfectly. View this post on Instagram A post shared by Mother Said (@mothersaidband) You Might Also Like
⋆｡ New Single Release ⋆｡: Yee Loi “Going Spare”
⋆｡ New Single Release ⋆｡: Yee Loi “Going Spare” Yee Loi, a dynamic rock duo hailing from the Wirral, England, composed of sisters Rose and Matilda, are turning up the volume with their latest single, ‘Going Spare’. Delving into personal territory, the track explores Matilda’s experience as the ‘spare’ child in the family dynamic. 07.03.24 Words by Emily Fletcher https://www.youtube.com/watch?v=gytw9yK143Y In a candid Instagram video, Matilda shares the complexities of being sandwiched between the revered eldest sibling, the only son, and the adored youngest, feeling overshadowed and underestimated. However, ‘Going Spare’ isn’t just a heartfelt reflection; it’s a clever play on words, tapping into British slang where ‘going spare’ means to erupt in anger. Matilda channels her frustration into a catchy anthem, blending personal narrative with universal themes of striving for recognition and acceptance from your family. Through driving rhythms and infectious melodies, the song resonates with anyone who’s ever felt overlooked or underestimated, particularly those who relate to the middle child experience. Yee Loi’s ‘Going Spare’ is more than just a rock hit; it’s a cathartic release wrapped in a rollicking tune that speaks to the human condition. Rose, the counterpart to Matilda in the Yee Loi duo, sheds light on the creative process behind their newest song. She recounts how she crafted the track using the 12-string guitar she received as a Christmas gift. Through experimentation, Rose stumbled upon a catchy riff, which evolved into the verse of ‘Going Spare’. Drawing influence from the likes of George Harrison and The Byrds, she aimed to infuse the chorus with a heavier sound, adding depth and dimension to the composition. The song exudes a lively energy with its 2000s rock edge, perfectly complimented by the vocals. The single’s cover art even channels a distinctive 2000s rock aesthetic, radiating a rebellious and defiant vibe. The bold red hues juxtaposed with black and white elements create a striking visual impact, giving it that nostalgic feel. It’s a must-add to any playlist, and keep an eye on these talented sisters in the upcoming months.’Going Spare’ is available to stream on all music streaming platforms. View this post on Instagram A post shared by Yee Loi (@theyeeloi) You Might Also Like
｡✦ New Single Release ✦ : Goat Girl “ride around”
｡✦ New Single Release ✦ : Goat Girl “ride around” Goat Girl announce new album Below The Waste with lead single ‘Ride Around’. 05.03.24 Words by Molly Gregson https://www.youtube.com/watch?v=kLVTnYXdXoY Goat Girl are back with a bang! The South London trio have returned with their first single in three years, ‘Ride Around’. The release of this new track accompanied an announcement of Goat Girl’s third album Below The Waste out on the 7th June via Rough Trade. The Band’s wry sense of humour has always been a feature of their musical sensibility, indeed their name stems from a play on the character of ‘Goat Boy’ by comedian Bill Hicks. This new era seems no different, with the amusing double entendre featured in the title Below The Waste. But on this latest release, Goat Girl seem to have branched into a confident new direction, embracing the playful whilst maturing into new depths. Goat Girl first gained traction after playing numerous shows at The WIndmill in Brixton, the South London venue that almost single handedly gave rise to a new generation of genre-bending post-punk and indie bands in the late 2010s. Alongside Windmill peers such as The Fat White Family, Shame, Sorry and Black Midi, Goat Girl proved themselves to be among the finest acts to come out of the UK. Similarly to their peers, Goat Girl have managed to build a sound that holds a distinctive and experimental presence, whilst not being afraid to showcase their sonic inspirations. On this new release, Goat Girl stay true to their south London roots with the music video for ‘Ride Around’, directed by South London production company, Foreign Body Productions, and filmed on the streets of Blackheath in South East London. ‘Ride Around’ begins as a straight forward attempt to deliver an industrial sound with understated vocals, but by the end of the track it builds into an expansive and gorgeous symphonic vocal arrangement.The band may have been branded in the post-punk genre, but this latest track sees them extending their artistry far beyond that label and venturing into a gloriously bizarre soundscape, landing somewhere between the realm of grunge and pop. ‘Ride Around’ is equal parts noise rock and equal parts delicately-layered harmonies, with the harsh guitar riffs and moody verse delivery complementing the melodic soft sounds of the chorus. There is also a Black Midi-esque layered instrumentation that pops up throughout the track – an interesting feature considering that this latest album is co-produced, alongside the band, by John ‘Spud’ Murphy who produced Black Midi’s 2021 record Cavalcade. Of the Album, Goat Girl have stated that they are “delving deeper into the extremes of their distinctive sound” and that Below The Waste “veers between expansive noise rock, delicate folk experimentation, satisfying synth-pop and everything in between” – so expect to hear many more genre defying, beautifully written and produced tracks from the trio’s forthcoming release. Check out the full track listing for Below The Waste below: reprise ride around words fell out play it down tcnc where’s ur <3 prelude tonight motorway s.m.o.g take it away pretty faces perhaps jump sludge sleep talk wasting View this post on Instagram A post shared by @goatgirlofficial You Might Also Like
｡✬✰New Single Review✰✬ : Lambrini Girl “God’s Country”
｡✬✰New Single Review✰✬ : Lambrini Girl “God’s Country” The latest release from Lambrini Girls slaps you in the face with its anarchistic mantra: “Great Britain – are you sure?”. 29.02.24 Words by Beth Gulliver https://www.youtube.com/watch?v=muoddHKZthg ‘God’s Country’ grabs your attention immediately, and proceeds to mock the far-right in a rant which reads like a punky ‘We Didn’t Start the Fire’, with added gumption and stunning punchy vocals. The Brighton punk duo sees Phoebe Lunny’s passionate rally cry set over Lily Macieira’s bassline. Lambrini Girls met as regulars on the Brighton music circuit and formed the band in 2020, taking inspiration from Courtney Love and Stevie Nicks. They have since been heralded by Iggy Pop as his “favourite new band” and it’s easy to see why. Lunny and Macieira’s debut EP ‘You’re Welcome’ showcased thunderous singles ‘Help Me I’m Gay’, ‘White Van’ and ‘Lads Lads Lads’; their latest release proves the duo just keep getting better. ‘God’s Country’ has jagged guitar riffs, clanging drums and attitude-filled lyrics – the result is an angsty track that will be electric live, set against the band’s immersive gig experience. Lunny often submerges herself in the crowd and the pair have been known to douse fans in beer and Lambrini. Stand out lines include: Bankers pay no tax / Grandma can’t afford heating / Strong and stable you’re joking / Pizza Express in Woking / We can’t afford to eat there / But a paedophile can? / All hail / God’s Country / Sorry bestie / But it’s giving austerity. The song is two minutes of perfect punk, challenging authority and questioning the double standard that is often present in British politics. Lunny previously discussed how the genre is about “inciting positive change” with NME and Lambrini Girls aim to create a safe space in the industry. Fearless and influential, look out for the band’s debut album in early 2025. If you can’t wait that long, Phoebe and Lily will take to the stage at London’s Scala venue on June 13th. Grab tickets for what will be an incredible show now. View this post on Instagram A post shared by Ellie Bleach (@ellie_bleach) You Might Also Like
｡✩New Single Review✩: My First Time “Workwear”
｡✩New Single Review✩: My First Time “Workwear” My First Time just recently released their first single ‘Wind Up Merchant’ in October of last year and at the end of last month they followed up with their new track ‘Workwear’. 28.02.24 Words by Caitlin Taylor https://www.youtube.com/watch?v=JLRzuDVnmr8 It has a similar snarky tone accentuated by vocalist Isaac Stroud-Allen’s theatric almost spoken word vocals but this time they take on the current political landscape. Speaking on the song, the band say: “‘Workwear’ focuses on the bizarre effect a few words or logo on a piece of clothing can have on people’s behaviour. When a model poses in a t-shirt that we’ll never look as good in, but we buy it anyway hoping we will! The song adopts the voices of three personas; ‘the over spender’, ‘the worried mother’ and the ‘marketing executive”. Overconsumption, consumerism, relentless advertising and body dysmorphia are constant companions for our generation.” Their influences are laid out bare: Blur, Marina And The Diamonds, and The Streets are all present in both the lyrics and style. They take on big themes like elitism, capitalism (ironically in their Bandcamp bio they describe themselves as “capitalist pigs” but do note that it’s because “rent isn’t free”), and mental health issues but don’t compromise on fun instrumentation and catchy choruses, “B-R-A-N-D, if you don’t have it then you must be less important than me” Stroud-Allen repeats throughout. Despite their reasonably quiet online presence, in their songs My First Time come across as unapologetically young and rebellious, screaming out their thoughts over an indie-punk/post-pop backing track. Along with Stroud-Allen, Jordanna Forsey (drums), James Mellen (guitar) and Niamh Jones (bass) are creating music that’ll stick in your brain. Their next few gigs will be in their homebase of Bristol, where they met at university, supporting TNAM favourites Lime Garden at The Fleece on March 6th then at Strange Brew on the 27th at a ‘Rabbit Party’. Sounds fascinating. View this post on Instagram A post shared by MY FIRST TIME (@my1sttime) 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