existentialmagazine

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Existential Magazine’s April Music Roundup

With the month coming to a close, we’re sharing just a handful of our favourite new releases we’ve discovered this April! Sit back, put on our New Music Friday playlist and spend a few minutes enjoying fresh new tunes hand-picked by us.

Kyss på halsen - Dive

As a sequel to their well-received debut EP, the glowing indie act Kyss på halsen are proud to release their second EP; ‘Nightwanderer.’ With inspiration taking from paintings like ‘Starry Night’ rather than musical pieces themselves, it’s immediately clear the textural landscape of these new singles will be unlike any transitional song, carefully curating every brush stroke, flowing of sound and pattern of beats like a painter wields their tool. The opening single ‘Dive’ sets that anticipation best, led in by large, atmospheric beats, a resounding boom that circles around the soundscape like it were an open stadium. Whirring synth beats and backing vocals are laced underneath, shifting through distorted effects before the opening verse comes to more of a light simmer. With just the slow, reverberant beats that unfold like droplets of water, and atop it their vocals that linger through the air, ‘Dive’ really begins to press forward. With an airy delivery to her lines, their vocalist’s clean delivery contrasts against the electronic backing, made even more prominent when electronically soaked backing lines come in with more of a low-toned blanket beneath. The chorus is what really shows off the starlit scene though, dancing through a cascade of quick firing beats that roll, tumble and crackle like fireworks or shooting stars working their way through the audible artwork. It’s mesmerising, like if bedroom pop and hyper-pop came together for a sound that were both intimate and vivid. It’s not just the sound that is filled with depth though, as the lyrics carry through a poetic and melancholic approach to longing and hope, teetering the line: ‘dreamers fading away… love will come and go.’ Feel it in your soul or live it in an upbeat little dance, either way it’s yours.

Snap Infraction - Touch The Sun

Echoing the vibes of The Cars, Thin Lizzy, early Fleetwood Mac, and The Beatles, the rock-based trio Snap Infraction have been dancing between the sheer potential of their work for a long time now, delivering a multitude of singles all styled in ways that are familiar but ever-so new and refreshing. Their newest ‘Touch The Sun’ is perhaps the most Beatles reminiscent yet, sweetly delivering gentle acoustic tones in an infectiously laid-back manner. Through an introductory bright acoustic guitar riff swiftly followed by warm piano keys and bass twangs, this easy-going ambience is one you’re lulled right into from the get-go. Swaying and easing into the soft, slow journey, the verse embraces you further with the addition of the double-tracked vocals. They’re dreamy and rich as they lift the sound to its full potential, an aching touch in the lower-toned range but that doesn’t mean there aren’t the most transcendent high cascades too, all together glowing like a lake on a summer’s day. As things move forwards, the sound continues to rise and develop through a palette of other instrumental layers, with rising volumes for piano keys and an acoustic guitar riff that now finds itself running through the verses too. It’s hard to capture a sound that’s wistful and sad, and yet so beautiful and hopeful all in one, radiating like a nostalgic reflection of a much-loved day that’s tinted with regret and longing from the future. That’s why their lyrical message is one that weaves so carefully and intentionally through, mirrored by the sound as their words aim to help and guide someone through their depression. With lines like ‘no need to hold onto regret’ that alleviate you of your bottled-up burdens, and the chorus hook that preaches new beginnings, you’ll find yourself lifted up and reminded of the beauty life has to offer even at your lowest: ‘reaching so high you touch the sun, now that your life has just begun.’

ego n friends - none of your business

Claiming the genre of nostalgic indie-pop, the upcoming artist ego n friends has been continually proving why they’re one to watch since they first entered the music scene in 2022, creating a style of music that’s familiar but so strikingly individual that no one else is doing it quite like he is. This separation from any other act is clear as day in their new single ‘none of your business’, blending an array of styles like bedroom pop, electronic and alternative flourishes into one palette you just can’t get enough of. With heavily distorted and electronically seeped vocals that whir in and out in a long introduction that samples their previous song, there’s an immediate aching to ‘none of your business’ that’s clear in the vocals, showing that even while shielded in effects they’re clearly still carrying a sadness in their downbeat isolation. Accompanied just by deep, drawn-out synth keys, this rather untraditional lead into ‘none of your business’ is perhaps what makes it that bit more special, showcasing an array of emotions from low to high through and through. After about a minute though, the track twists and warps into something completely new, painting on a fresh face and lifting you right up. Between gorgeous shining electric guitar strums and ego n friends smooth, charismatic vocals, you’ll be quickly wrapped up in every single quickly spoken-sung line. Female backing vocals add a lingering to intermittent words while others seem to have a light chanting behind them, drawing focus to segments like ‘hope your daddy’s hurting, ‘cause he ain’t learning all your trauma.’ All of it completely pops, showcasing exactly how few instruments can make the boldest of impacts when playing around with stereo space. While the lyrics are complex and weave between romance, accountability and other real-life admissions, a lot of what you’ll take away from ‘none of your business’ is just how you end up interpreting it in your own life - and that’s exactly what the experience hopes to deliver.

Grapevine. - Like An Oasis

The solo artist Will Clucas has been slowly but surely making his name known under the project Grapevine., hailing from the North East with a drive that’s seen his work adored by locals and fans worldwide. This sparkling indie rising star has garnered this much deserved attention through his first two synth pop tracks, and his latest ‘Like An Oasis’ is no exception to an already stellar discography. With a vibrancy perfect for the upcoming bright spring and summer days, this tropical feeling new delight parades his yatch pop inspiration with a flavourful array of genres we all know and love. Through funky electric guitar strums, soft tumbling beats and glowing synth, this new tune is an oasis of its own, topped off by a light and airy vocal performance to match. With smooth lines that keep things easy on the ears, you’ll be singing along in no time to Will’s catchy and contagious delivery. Perhaps this edge of tranquility and ease is why his utterly contrasted lyrics float through undetected, ringing out with desperate pleas for when you’re so lost in love with someone that you can’t quite find your way. Lines like ‘forget everything I said’ seem to be afraid of their admissions, leaving a barrier up and a distance between them and their crush or lover, potentially uncertain if they’re deserving of reciprocated feelings. Continuing ‘this weight over my head’, it’s almost like their feelings are a burden rather than freeing, yearning to let it go instead of accept them and pursue. The way the sound develops seems to match these uncertain ramblings, with more paired-back verses against a chorus that shimmers and dances through the most explosive of synth. A little saxophone solo bursts through the final portion of the song, a sonic journey you don’t want to miss out on experiencing for yourself.

Mel Senese - Melonade

Jumping into her third release of the year, the up-comer Mel Senese has been quickly dominating the music scene with what she does best - delivering indie-pop you just can’t get enough of. From the start of ‘Melonade’, not even a second is wasted before her clear and domineering vocals grab your hand and pull you in, filled with clean charisma and little raspy moments that show off more of the emotion underneath. The soundscape is just as bright and feel-good to match, popping through an equally groovy bassline and catchy clapped-styled beats, delivering that easy-going disco spirit in more of a modern day indie approach. Simmering to more of a stripped-back moment for the pre-chorus, the track fades into quick strummed guitar and pulsating beats, a slowly rising moment of building intensity that Mel’s vocals commandeer with ease. The chorus is an unexpected little shift, blaring into gritty electric guitar strums, tumbling drums and more attitude-filled vocals from Mel, falling more into a rock-y intermission that can’t help but empower and radiate: ‘get your drink from a melonade stand, rolling up to me like damn.’ Just when you think you know what you’re in for, the next verse completely shifts once again with a casually rapped delivery from Mel that’s insanely addictive to sing along with. Backed up by the perfect assortment of electronic beats and bass twangs, as well as backing vocals that add little witty nods like ‘uh huh’ and ‘okayyy’ , you’ll always be on your toes while listening and perhaps that’s why it’s so damn good. The words are equally integral to the experience too, written by Mel as an ode to herself and how sometimes you just need to talk yourself up to have the confidence you deserve. Whether you’re here for a good time, or for that extra pick-me-up that Mel is sure to deliver, you won’t regret listening to ‘Melonade’.

We Were Young - The Kids

With a motive to ground listeners, letting them live in the moment and free of the pressures of life, the upcoming artist We Were Young has been slowly but surely delivering new songs that capture that breath of fresh air we all need sometimes. Since setting up only this year, they’ve already found themselves sharing five stand-out singles in a short space of time, but never sacrificing the staple sound to do it - and their newest offering ‘The Kids’ best displays it. Through a light opening of finger-picked acoustic guitar amidst booming beats and claps that entwine for a rather paired-back soundscape, you’re immediately brought back to the basics and reminded of your youth, swept up in the summer air and natural feel of the rustic instrumental energy. A warmth is carried through the vocals, soft and floating through the sound with a sincerity to every gently rising word, a delicate rasp on some lingering moments that delivers emotion through the ease. Everything about it is fresh and freeing, transporting you to the outdoors with bonfires and friends and pink-tinted skies, away from your burdens for a moment of uninterrupted tranquility. The chorus adds some vibrant pops of synth, dancing through their notes while only the vocals are there to complement them. This moment of more intentional intimacy is perhaps one of the first times you realise the narrative has a more hard-hitting depth to it, caught up on the line ‘they stay together for the kids’ as the song falls into place as an exploration of the push-pull of family life. But as the sound contrasts with such a colourful palette, there’s a hopeful air that shines through even the gloomiest of admissions, emphasising working through it despite no longer choosing to ‘dance to tunes so sweet.’ Building atmosphere and healing your heart, you’ll find that ‘The Kids’ is the perfect folk-y tune to journey into the spring days with, embracing the imperfections of life and building a life that can withstand the rain.

Maddy Storm - i want to be everything

Known as an artist and producer of self proclaimed “over-the-top-sad-pop-bops”, the upcoming musician Maddy Storm has been slowly but surely dominating the music scene with tracks that are loud, bold and unashamed. If you want to wallow in your feelings, the best way to do it is definitely through channeling your inner boss, and Maddy’s here to teach you how. With her newest single ‘i want to be everything’ continuing the staple edginess of her music, Maddy’s once again embracing the ability to mesh sad thoughts with fiery delivery. The opening verse is anything but typical though, stripped-down and pushing forward through bright instrumental chimes like the winding of a music-box, an uneasy slow progression that feels as though it’s sulking and waiting its time to dominate. It’s not long before striking synthetic beats cut through the softness, with Maddy’s previously toned-back vocals and light distortions quickly finding their place in a more volatile landscape, twisting and pushing through a range that’s impressively daring. The chorus is where it all really comes out to play, thunderously blaring through controlling, booming synth and layers of vocals that shine between higher ranges and shouted vocals front and centre, all still displaying an epic range from start to finish. As a manifestation of a 2am spiral, ‘i want to be everything’ perfectly encapsulates that level of late-night unhinged we all often live through, our thoughts tangling out of control and losing sight of the daytime’s ability to keep us in check: ‘you wouldn’t want me to worry, and I know I shouldn’t… but my mind likes to play tricks on me.’ Continuing ‘I have no reason to believe you’d lie’, it’s quite clear that Maddy strongly knows the truth of the situation, and yet cannot help but still find doubts weaving their way through. Between hyperpop, dark-pop and some rocky grit mixed in, ‘i want to be everything’ absolutely champions everything you need when the world feels like it’s burning around you.

Northern Captives - Living In-Between

Initially forming in 2016 as a recording project by singer Sam Cook, the indie upcomer Northern Captives have spent many years establishing their unique presence in the music scene, drawing attention from Kerrang! Radio and BBC Radio 1 Future Alternative among many others. Now as they take 2024 by the reigns they share new single ‘Living In-Between’, a blend of alternative-rock, indie, pop and emo flourishes for something familiar and yet one of a kind. With an atmosphere set right from the beginning, ‘Living In-Between’ comes tumbling in through tapped drums, blaring guitar strums and a whole lot of building energy, but it dissipates just before you’d expect things to kick off. Through the settled verse, the sense of trepidation for something loud and large flows through the simmered steady drums, intermittent bright guitar strums and their vocalist’s lower-toned lines, carrying a spoken-sung lean to his words that adds an ache into the performance. This is all hushed and delicate, but that sense of rising sound present the entire way through with the backing vocal shouts and building guitar. The chorus finally allows things to burst, dancing into a dreamy electric guitar riff, building drum beats and their vocalist’s words soaked in reverb, all clashing into one final eruption of dominant drums and gritty strums that we’ve been awaiting since the very beginning. A moody bassline also comes into play from this point forwards, with ‘Living In-Between’ slowly but surely pulling together its individual pieces and growing in strength. The vocals show off a lot more force, hurtling into higher notes and shouted lines that carry a hoarse and quivering level of emotion in each word sung too. It’s hard not to love every second of it, moulding something dreamy with bottled-up emotions finally finding the place to free themselves and be heard.

Giack Bazz - Only Fans

Since writing his first song in 2008, the talented musician Giack Bazz has been continually demonstrating why his music is made to stand out, tackling an array of genres and widely spanning themes throughout his journey. His newest single ‘Only Fans’ is perhaps the most daring yet, unafraid to speak out about the current state of the music industry and the digital creative environment that has seen artists struggling more than ever before. The sound doesn’t wish to thrust that on you immediately though, lulling you in with a warm, slow indie-rock sound, painting a picture of ease through the dreamiest of reverb-soaked electric guitar plucks layered and entwined. Giack’s vocals are equally smooth and charming, floating through the delicate tones with his own airy delivery, carrying a sense of melancholia in the lower-toned lines that are mellow but saddened. From sound alone, you’d be none the wiser, whisked along for a magical escape that’s easy on the ears and soothing for the soul, but everything about that feels completely intentional. ‘Only Fans’ wants to push a message, and what better way to deliver his point than to create a sound that's relaxing and easy, coaxing you in with an easy-going nature and making it unavoidable to learn more as Giack’s words spill out. With a narrative that rings out as a protest as much as it does a story to be heard, ‘Only Fans’ tackles the unfortunate reality that the music landscape has shifted for the worse: ‘If it's true that one's company and two is a crowd, there were three many people singing too loud.’ With lines that emphasise the way the music scene feels overcrowded and impossible to succeed within, we’re immediately drawn in by the struggles that are often unmentioned by those who have “made it.” Continuing into the chorus, Giack adds ‘watching disinterested the stage, with a drink in their hand’ , an acknowledgement of the way crowds await their headlining act without love for the openers, or perhaps have just lost the desire to support upcoming musicians any longer. From start to finish, Giack touches on the despair that comes with creating nowadays, the struggles to be heard, the unconventional ways you must promote yourself, the dire amount of money paid through streams and more. If you’re ready to hear it for what it is, ‘Only Fans’ isn’t backing down about getting it heard.

Morgan Chambers - growing pains

The twenty-one year old singer-songwriter Morgan Chambers just began sharing her soft musical works with the world, offering some of her most intimate experiences and emotions as both a form of healing and guidance for those who need it most. Not only that, but as her debut as a musician Morgan hasn’t just shared with us a single worth remembering, but a body of work residing in EP ‘growing pains.’ From the the leading track ‘chasing dreamers’, Morgan right away establishes just how much of an upcoming star she is sure to be, creating aching folk-y works reminiscent of acts like dodie and Phoebe Bridgers but so incredibly her own all in one. Chiming in with finger-picked acoustic guitar notes and the most haunting but equally soothing of vocal hums, ‘chasing dreamers’ lulls you right in to a soundscape that is real and raw, but offers an much needed level of comfort like the presence of a friend at your most painful of lows. This sense of heart-wrenching agony is only further continued into the verse when Morgan’s tender vocals really begin to shine, soaring through delicate vocal lines that float through highs and simmer through lows, a tone carried through her delivery that makes every revelation feel as emotive as it must’ve been while experienced. All of it wraps around you with an ease and understanding that all artists would hope to weave through their songs, making the listener feel heard and understood as they pin their own woes to the troubles that Morgan spills. The words are just as sentimental and heartbreaking as you’d expect, questioning why someone would compare her to so many beauties just to walk away: ‘you said I looked like the stars, was that not enough to keep me in your heart?’ Continuing ‘half of me puts you first, and half of me hates everything you do’, Morgan seems to come to the revelation that she must come first, but her torn heart lingers on what could’ve been and the love she still stores. It’s wistful and pained, truthful and cathartic, delving deep into emotions buried and unheard of, spilling out like the words of a diary for the world to hear - and that secretive, close feel of her work is what makes it ever so impactful.

Give a listen to these songs and more in our New Music Friday playlist this week, or see our Roundup Recap playlist for every song previously featured in one of our monthly roundups that you might have missed!

Written by: Tatiana Whybrow

// Some of this coverage was supported and created via Musosoup, #SustainableCurator.

#tatiana

[existentialmagazine]

Review: Love Ghost’s new single ‘God Damn’ channels dark pop-punk and emo while fighting with its demons

When Love Ghost are around, you’ll find new singles following in hot pursuit, and their latest ‘God Damn’ is here once again to remind that they’re an always rolling machine. With a year filled with collaborations with Latin American artists and apparently still more to come in their latest that features Mexican artist ND KOBI, this emo-based duo are yet again smashing out something catchy, personal and staple to their discography like it was always made to be there.

Through an introduction that couldn’t feel less Love Ghost-esque, ‘God Damn’ comes tenderly flowing out through finger-picked acoustic guitar, soft whirring backing notes and backing vocal hums. This intricate opening sets the tone immediately, rather starkly cutting away from their usual gritty noise and pop-punk ladened performances for something clearly held close to the heart. The soon all-consuming vocals add to that, a light rasp and emotional quiver heard behind every word and admission, with some momentary words caught in an echoed loop that haunts you: ‘I’m trapped inside of my mind.’ It’s not long before they return to their roots though, blending between this tender moment with scattered electronic beats and a more confident, spoken-sung delivery that finds its footing in the more backed-up soundscape. Through every bass-infused beat and hoarse, lightly whiney lyric (like all the best pop-punk vocals are), they find the perfect balance between what is heartfelt and stripped-back, and what is catchy and defensive to shield from the pain.

As you’d expect from Love Ghost, the narrative here is just as aching and real as always, carrying through their own experiences with mental health as well as others too. In lyrics like ‘I’m not living and I’m not dead, I’m just hanging on by a thread’ Love Ghost quickly establish their declining status, existing without feeling or ambition to do anything. This only continues to grow throughout, pushing through these thoughts and feelings with a sound that’s working through them too, entangled within both the darkness and light. Further lines like ‘I love how it feels dangerous’ display a self-destructive nature too, feeling trapped within the lows and carrying no motivation to battle back out of them. Some later lines carry a sense of reliance on a partner too, admitting ‘I feel like everything I do is for nothing’, and more candidly ‘it would mean nothing in your eyes if I would give you the night sky.’ Everything about it feels rather pained and desperate, seeking whatever is left to hold onto as questions and lines are met with deaf ears: ‘what’s wrong with me? It makes me hate that I’m living.’

Like everything that Love Ghost do, ‘God Damn’ isn’t made to be easy to hear, it’s for those that need it most. If you’ve ever felt alone, unheard or like you just need someone to guide you through, this track is one filled with relatability as well as the comfort to know that others have made it through to the other side with similar feelings. Keep listening for yourself here, it’s worth it.

Written by: Tatiana Whybrow

Photo Credits: Maldito Moreno

// This coverage was supported and created via Musosoup, #SustainableCurator.

#tatiana

[existentialmagazine]

Review: Oh Ryan’s zesty new single ‘Tangerine’ offers their staple indie-pop colour and feel-good outlook even when aching through heartbreak

The Dublin-based alt-rock group Oh Ryan have been taking 2024 by storm, delivering an infectiously indie-pop rooted sound that radiates with ease through their every new song. Since their debut ‘I Quit My Job’ last year, and their most recent single ‘Take It Easy’, the four-piece have slowly but surely made a name for themselves that won’t be slowing down in gaining traction anytime soon.

Now with their zesty new single ‘Tangerine’ left to continue hooking audiences left, right and centre, Oh Ryan are ready to really get themselves heard. With an intro of chanted voices singing the catchiest of hooks in the form of ‘da da da’, you know you’re immediately in for a good time, ready to enjoy a sound that’s contagious and playful as much as it is exceptional. The drum beats and guitar strums perfectly time with every word, bringing the energy before the song has even had a chance to get into things. Picked up by this sunny little introduction, the verse dances through steady drums, smooth, groovy bass twangs and guitar plucks, simmering into more of a casual instrumental palette that’s still as funky and fun as ever. The charismatic vocals add a spoken-sung lively touch, running through lines that feel like they’re sung with a smile, capturing wit and ease in one.

The chorus completely shifts, speeding into quick guitar strums, a racing bassline and tumbling drum beats, a change that mirrors the narrative as much as it does an excellent job at keeping you absolutely hooked. From the opening’s cool, calm and collected approach to being stuck in a relationship with someone who can’t quite make up their mind, you’re left believing that despite the turmoil they’re coping quite alright. But Oh Ryan seem to find their racing heart and impatience as the chorus bursts into action, singing ‘I get a little nervous chasing you… oh my god I needed out’, an admission that even when they can be confident on the surface that there’s often more beneath it we don’t see. That isn’t to say that ‘Tangerine’ isn’t for the most part a refreshingly positive take on a breakup, finding pleasure and excitement in the prospect of new beginnings and letting go, but with the choruses twist Oh Ryan keep it real in that even when escaping those that aren’t right for you there will still be some negative emotions you need to process.

This back and forth is present throughout, showcasing a level-headed demonstration of self-love in one of the very first lines: ‘break it off or take it slow, just don’t keep me hanging ‘cause you can’t let go.’ A lot of us perhaps would struggle to be so candid, desperate to be wanted back, but Oh Ryan explore the opposite and in-turn offer their audience a push to value themselves more than they do now. Continuing ‘I’ve been waiting for communication, but everything you say is as equally frustrating’ , the situation seems to become more and more unbearable with time, dealing with constant confusion and a partner that just leaves their heart hurting. As the bridge sings ‘I guess I’ll get my feelings straight’ , there’s a soft admission that they still need some time to process what they’ve been through, and with the entire band singing ‘we’re gonna be okay’ , it’s quite hard to feel anything other than wholeheartedly reassured. Everything about ‘Tangerine’ is a bit untraditional in the best kind of way, giving way for a new kind of post-breakup anthem when you need it most. Just be sure to keep listening for yourself here, it’s worth it.

Written by: Tatiana Whybrow

Photo Credits: Oh Ryan

// This coverage was supported and created via Musosoup, #SustainableCurator.

#tatiana

[existentialmagazine]

Review: Earth to Cheska’s dominant new single ‘Power’ displays bold self-confidence in a thrilling dark-pop sound

The fierce indie-pop artist Cheska has been writing music since her childhood, writing heartfelt teen angst anthems for her band at only twelve years old, but now her work carries all the more force going solo. Embarking on independent releases, Cheska began Earth to Cheska in 2022 with a dream of being the superhero of her own life and embracing a badass alter ego - one that we’re perhaps starting to think is just the real Cheska. Through epic singles and a worldwide audience, she’s well on her way to making heads turn and dominating stages wherever she goes.

With all that said, if you’ve ever yearned for a track about reclaiming your power and confidence, then look no further than what Cheska has to deliver in her new single ‘Power.’ Thrusting high-energy right your way, this experience will shake you to your core and leave you wondering why you ever doubted yourself to begin with, radiating with a liberating sense of finding yourself and ignoring the opinions of others. From edgy guitar plucks that feel distorted and unlike any typical performance, the lead in to ‘Power’ is one rooted in a sense of unease and trepidation, at first stripped-down but evidently at the start of what’s going to be a bold evolution. With the verses beginning, you’re also introduced to Cheska’s slightly hushed vocals, a performance that’s clearly held-back and awaiting the perfect moment to slip out of her sweet and sultry spoken-sung levelling for something more in-your-face, keeping you on your toes and your adrenaline high before the track is even ready to burst yet.

It’s not long before that development starts though, slowly picked up by intrusive booming bass twangs that almost feel like the beats of the track before the drum clashes come into play. Louder, twisted vocal lines are morphed with electronic contortions too, all the while scattered beats seem to rise in an EDM-like build without the drop, connecting back into the next few verse lines. This constant sense of rising and falling is what makes ‘Power’ that much more addictive, always leading you on and leaving you waiting, and it’s sincerely worth it when you finally reach that high.

Brought in by a well-established momentum and instrumentals at their peak, the chorus finally drops, fading out for Cheska’s drawn-out ‘oh god’ that you can’t help but feel in your bones. The booming drums accompany her every line, a moment that’s reserved just for backing electronic chatters and a stripped-down palette, making her lines the front and centre of what you’re here for. The bass-filled chorus outro doesn’t let it down either, offering more warped vocals, resounding guitar and pounding bass that’s just as intense as the underfloor shaking at a concert.

That’s not all ‘Power’ has to deliver though, weaving in a message that’s mirrored by the sound - when we fall down, we get back up! If you’ve ever lowered yourself down, felt small or afraid, or just found it hard to take up the space you deserve, you’ll find that ‘Power’ packs a punch in reminding you of everything you have to give, and why the hell you shouldn’t give it up without a fight. Cheska’s here to push you to own your power and take on the world, hyping you up when you might not be there to do it for yourself. Between the rowdy sound, she reminds ‘I love myself louder, if you need a deity then I’m your higher power’, a claim that’s filled with the oozing self-confidence we can all do with taking on. Continuing ‘you act so innocent, but I know what you’re after’, there’s also a sense of vengeance and reluctance too, no longer allowing others to walk over her or bring bad intentions her way.

The soft closing segment is a complete shift from everything we’re used to in ‘Power’ though, no longer hiding behind build-up walls or perhaps a facade that’s clinging to more confidence than is really wielded behind the scenes, instead reminding that we’re all human and a little afraid. Through the acoustic tones and more childlike vocals, we’re brought down to the sensitive side that’s hidden behind closed doors too, revealing the pain of losing a partner that either held them back or left them feeling a shell of themselves in their breakup: ‘heaven’s gone and I don’t know what to do, cause heaven looks a little bit like you.’

Whether it’s the dominant energy, the meaningful message or just Cheska’s infectious attitude, you’ll find something to love in ‘Power’ and that’s a guarantee. Keep listening for yourself here, you won’t regret it.

Written by: Tatiana Whybrow

Photo Credits: Spilled Milk

// This coverage was supported and created via Musosoup, #SustainableCurator.

#tatiana

[existentialmagazine]

Review: Will Pope’s dreamy new single ‘Black Bird Fever’ runs through finger-picked guitar and soft vocals, finding love and identity in one

Hailing from London, the rising indie-folk upcomer Will Pope has been slowly but surely taking over the music scene since 2020, marking his beginnings with a debut filled with stories of grief, loss and hope in a changing landscape. Before that, in true troubadour fashion, he’d found himself across the world living and gigging in Beijing. Now with experiences tucked away and plenty of words to write, Will has fully embraced his solo path releasing his signature-styled take on modern folk.

Dreamily gliding through finger-picked guitar, Will’s newest single ‘Black Bird Fever’ is a joy to the ears from pressing play, unfolding through the warmest and brightest of strings. The delicacy evoked by the solitary guitar can’t help but make you ache a bit, a lingering in the air and a heaviness on the heart, but the performance feels almost hopeful and content. It’s hard to say whether Will’s vocals were made to complement it, or if the guitar was made to complement his vocals, weaving together like they were made to entwine and journey at the same pace, tones and growth. With a soft vocal performance, he seems to limit the strength of his words, lulling into a restrained delivery that’s more hushed and sincere. That doesn’t mean he isn’t still climbing into gorgeous higher notes though, cascading through his vocal range with such a contagious ease you can’t help but take on for yourself.

Through a sound that’s evidently heartfelt and emotionally ladened, ‘Black Bird Fever’ of course carries a narrative that’s equally sombre and caught up in the toils of life, working through the details of love and self in one. Through the sound that’s speckled with tenderness as well as flecks of hope, ‘Black Bird Fever’ mirrors what it has to say through its instruments too, rising and falling from every loss to every strength. The opening’s sincere question sets off this tumbling journey, asking ‘oh love, can you hear me?’ , a sweet but telling admission of distance between our protagonist and their partner as they’re ‘hunkered down’ away from them. Continuing that they’re ‘fast and loose like a sea breeze’, it seems like they wish to work on themselves, pushing their lover away in the process. The words only keep aching as they keep spilling out, sharing ‘I thought by now I’d have figured out how to close myself from the edge’, a line that could hold many interpretations but seems weighted in issues with their confidence and identity. Returning back, they find joy once again when they reunite, revealing ‘I was wrong to think I’d be better off alone.’ This beautiful but painful track seems to be finding itself as it plays out, working through their desires for love and fears of opening up when they’re more of a mess behind closed doors, something that many can relate to as they listen along.

Without any traditional sort of chorus, the track doesn’t offer much of a shift to distinguish the change, just continuing through the resounding guitar and slowly revealing itself in the repeated lines as you listen. A magical feeling bridge does take a different path for the soundscape though, haunting in harmonies and high-toned lines while the guitar and wispy backing embrace you for a moment of ethereality. If you’ve ever wanted to feel like you’re floating on a cloud, ‘Black Bird Fever’ really evokes that sense and so much more. Just keep listening for yourself here to really understand how.

Written by: Tatiana Whybrow

Photo Credits: Austin Younger

// This coverage was supported and created via Musosoup, #SustainableCurator.

#tatiana

[existentialmagazine]

Review: Edho’s new single ‘Movie Junkyard’ delivers a coming-of-age feel through an old-school indie sound

With an indie-pop sound heavily influenced by synths and 2000s indie rock, the up-comer Edho has been working on a sound that perfectly blends that of The Front Bottoms turned towards a bit of Arctic Monkeys, Arcade Fire, Wet Leg, Zola Blood and The Arcs. If that sounds right up your street, you’ll find a world of magic in his slowly growing discography, merging the ease of indie with real-life admissions and sprinklings of other genres along the way.

His newest single ‘Movie Junkyard’ delivers all that and more, setting off on quite a coming-of-age feel right from pressing play, consuming you in the feel-good atmosphere like you’re that protagonist dancing in the rain, falling in love and living it up while life throws it all your way. With a groovy bassline and synth keys to open things up, Edho blends vibrant notes and an easy-going feel with more of an aching beneath, lurking in the more infrequent distorted bass twangs and the overall murky tones. It’s effortless how the sounds merge between, both present at once and yet completely contradictory to one another, leaving you questioning deeper before the words have even hit.

Shifting into the verse, Edho brings you back into the place of comfort with grounding vocals, softly delivering smooth but lightly raspy vocals that carry emotion through every single unfiltered word. His narrative is authentic to match, glowing from the beginning’s admissions that the person he’s found is a ‘ten out of ten… out of the movies, black and white’ , wondrously matching them to some of the most high praise comparisons. The pre-chorus returns back to the more tender undertones however, revealing that: ‘all the time I’ve wasted chasing a ghost that never answered, looking for something that wasn’t there, but I can tell it’s there with you.’ Between clearly loved-up and nostalgically lingering, ‘Movie Junkyard’ seems to be moving forward while still a little caught on the ghosts of the past, mirroring the way the sound blends and whirs through both an easy listening experience and one that’s a bit gloomy and out of tune.

The chorus doesn’t offer much of a change in sound, pounding through drum beats that take centre stage and a colourful but distant electric guitar riff, all before things close right out again with the song’s staple bassline and funky synth pops. It’s alright though, because the moment that follows it is distinctly something else, adding something that doesn’t feel like your typical chorus, verse or bridge, just gliding through a muddle of sound and vocals before returning back to push forwards. Whether you can relate or not, there’s no way that the sound of ‘Movie Junkyard’ isn’t one you’ll get hooked on, eager to uncover what’s buried between the cracks.

With this atmosphere washing over you, you’re sure to be swept up in a story that may or may not be your own, so don’t forget to keep listening to the rest of ‘Movie Junkyard’ for yourself here to really understand the nuance of sound Edho has to offer.

Written by: Tatiana Whybrow

Photo Credits: Federico Gangemi

// This coverage was supported and created via Musosoup, #SustainableCurator.

#tatiana

[existentialmagazine]

Review: Izzy Pingrey ‘roots’

At just seventeen, the rising indie artist Izzy Pingrey has been slowly but surely taking over her current residence of New York City, delivering music that always resonates with her young adult audience. With a sound that feels a little like Taylor Swift, Phoebe Bridgers and Olivia Rodrigo but wrapped into slow, acoustic based indie-pop, she’s already carved out a completely identifiable sound of her own - and with every new release, she only seems to get better.

Her newest release ‘roots’ is the perfect embodiment of soft but catchy, slotting right into her discography like it’s always been a glowing part of it. Through a more laid-back bedroom-pop ease and indie-pop vibrancy, Izzy transports you to a place that’s filled with taking your time, letting yourself live in the moment that often finds itself slipping away too quickly to appreciate. The dreamy electric guitar riff is the reason it’s allowed such tranquility, gentle echoey notes that create such a little experience of dreamlike escapism. Steady drums flow through the verse too, simple but intentional, keeping you hooked on the smoothness of the sound. Izzy’s vocals are just as integral to the sound with such a limited palette of instruments, clean and airily gliding through a light range, a performance that’s enchanting and comforting all in one.

The chorus only picks up a slightly, shifting the staple guitar riff into something a little less slow, all the while the tumbling beats also change their course. Both rise in volume too, a more impactful moment filled with volume and a more consuming sound, still just as ethereal as ever but a little more noticeable. Izzy’s vocals are a bit more bold too, carried by haunting backing vocals on her every line and she is unafraid to cascade into higher ranged little runs and low-toned, rich admissions. It falls somewhere between aching and easy, a mix of emotions hard to pool into one but Izzy has nailed it perfectly, delivering that sense of nostalgia and appreciation that often slips through our fingers when we focus too hard.

It’s no surprise that the sound evokes such feelings either, when ‘roots’ itself plays out as a bittersweet love letter to Izzy’s younger self, working through the changes that adulthood brings. From the opening line ‘you wrote me a letter… delivered to me when I was seventeen’, Izzy places some distance between the person she was and is now, referring to herself as ‘you’ in perhaps a revealing nod to the fact she’s someone completely changed. Some things stay the same though, running through past and future as she admits ‘I still bite my nails’ , as well as ‘got a new dog and a new boyfriend, but my nose looks just like it did when I was twelve.’ Every line seems to flicker between what was and what is, but Izzy always keeps herself grounded in those details that can never be changed, honouring her younger self and in many ways yearning for that childhood experience once again. The chorus is interesting, delivering the hooks that ‘my hair used to be so long, cut it off’ and ‘I went blonde, but you’re coming in with my roots’ , showing that the ‘roots’ in this nature are a little double-edged. From the roots of her hair that connote change, to the real-life roots she’s placed throughout her existence, ‘roots’ shines for its authenticity.

There’s a lot to love and unpack through ‘roots’ , and it’s well worth doing it for yourself, along with everything Izzy’s shared. If you’re finding yourself relating to Izzy’s reflections or perhaps just soothed by her sweet sound, don’t forget to keep listening here.

Written by: Tatiana Whybrow

Photo Credits: Unknown

// This coverage was supported and created via Musosoup, #SustainableCurator.

#tatiana

[existentialmagazine]

Review: B. Snipes new single ‘Friend’ delivers quick-paced indie rock that’s catchy and meaningful in one

Since releasing his first EP in 2015, the up-comer Ben Snipes (known musically as B. Snipes) has truly flourished into a formative indie-rock act unlike any other, delivering modern touches in nostalgic roots. It’s no surprise it sounds familiar either, with influence from The Killers and The Strokes, as well as folk artists like John Prine and Townes Van Zandt that separate Ben’s work from most. Now with a few scattered singles over the years, and his second of 2024 just releasing, Ben is here to make you feel heard in a space where he’s authentically himself too.

Have you ever just really needed a friend? Yearned for company when everything seems to be falling apart? Desperately wanted to escape the loneliness that seems consuming? Well, you’ll probably find that Ben’s newest single ‘Friend’ might relate a little too much, aching for someone to lean on in the midst of personal and societal collapse. With soft faded-in percussion, the introduction of ‘Friend’ in itself is at first cautious, perhaps afraid to ask loudly and be met with rejection. But it picks up soon, hurtling along with quick-paced drum beats, vibrant guitar strums, bright piano keys and rich bass twangs, a speeding shift that seems to mirror Ben’s building emotions coming into the opening chorus. As his lines right away delve into the deep end, Ben sings ‘you say you want to be a friend, when the whole world ends…’ , an acknowledgement that it’s often left until no return for people to start showing up. Even the world ending would be a semi-selfish reason to show up, pushed to the bottom of their priorities unless some devastating event - that also impacts them - may occur. Ben’s vocals are fleshed out and bold, keeping up with the fast-moving sound and flowing through gorgeous highs and lows with a delivery that’s a little pushed and emotive in itself.

Things simmer down a bit for the verse, a shift towards just intermittent piano notes, bass twangs and clashing drums, still hurtling along but with much less of an impact with the reduced layers. Ben’s vocals are more intimate to match, a spoken-sung sort of delivery that reminds a bit of Sam Fender and Sundara Karma in one, delivering charisma in such a uniquely diverse package. You’ll want to sing along to every single line, even when some will have you frozen for a moment to reflect on what exactly it is you’re saying: ‘He gave you your name too, yeah but he didn’t know you.’ Weaving in his own childhood trauma and a clear sense of isolation through it, moments like this line carry the harsh reminder that although you may have family, they are not always there to give the love and safety they should provide. Instead, the idea of family seems to be nonexistent to Ben, pushing onwards alone as he’s done from a young age.

Between autobiographical admissions and and a composite of adjacent experiences through his work as a clinical work as a therapist, ‘Friend’ carries the raw truths that we can’t always look in the face: ‘The lights go out, you see it now.’ To match these new lines, the bridge ebbs and flows with an almost theatrical edge to it, a cascading of piano keys and rising vocals that quite literally feel like the final moments before the lights dim at the end of a theatre show or concert. Everything about it is intricately thought out, a sonic experience that’s tied to its words with careful planning and depth, delivering an experience through ‘Friend’ that you won’t be able to forget - so add it to your own playlists here.

Written by: Tatiana Whybrow

Photo Credits: Unknown

// This coverage was supported and created via Musosoup, #SustainableCurator.

#tatiana

[existentialmagazine]

Review: Sophie Li’s new warm indie-pop tune ‘Billboards’ encourages letting go of insecurity and chasing your dreams

With the year dedicated to re-establishing herself as an independent artist after taking some time away, the up-comer Sophie Li has been slowly but surely crafting her work to be the most authentic it can be, carefully polishing every little detail. From her backing band that’s better than it has ever been before, to new music with a higher quality and larger impact, she’s ready to take on the music scene once again after her last single ‘For Crying Out Loud’ released in 2022.

It’s hard not to feel alright with the sweeping sound of Sophie’s newest single ‘Billboards’ washing over you, soaking her vibrant palette of indie-pop in a warm, nostalgic feeling buzz that ebbs and flows with an ease that’s infectious. Distant guitar and drums tumble into the introductory moment that’s easy on the ears and a much-needed escape for the heart, lulling you in with a built up moment of clashing beats, bass twangs, hazy strums and a staple bright electric guitar riff that carries the coming-of-age glee that ties it all together. Everything about it is a breath of fresh air, a picture of a summer sunset with good friends by your side, feeling as though you’ve finally found your place in a world that’s filled with never-ending chaos.

This bustling introduction settles into a verse that’s soft and light, flowing through just steady drums, bass twangs and a quiet, slightly distant riff, allowing for Sophie’s vocals to fall front and centre. There’s something quite intentional about that shift towards rest, cutting off the fast-paced noise and layers of sound with a paired-back verse opened by the statement: ‘you’re overthinking all of this again.’ Forcing you to look deeper and reflect, this break from the outside pulls you within, comforted by the friendly spoken-sung approach of Sophie’s vocals. Each word is a little slow and drawn out, easing into higher notes and carrying a bit of a pop-punk-esque feel to the human-ness of the delivery, making you feel like you’re in a safe place with someone you know and trust by your side.

The chorus brings back the plateau of instruments, weaving into one large patchwork that at first may have been overwhelming for Sophie, but in this high she’s clearly re-framed it as she sings: ‘I wanna be on billboards, I wanna be on Netflix soundtracks, ‘cause when you talk to me like that, I feel like I can do anything.’ Lifted by carefree spirits, her lines break away from paralysing insecurity, finding herself yearning for the opportunities she knows she can reach - and fully deserves to. The joyful guitar riff, emphatic strums, dominant drums and bass twangs match her energy at full force, no longer a cloud to worry about but one to embrace wholly.

If you’re looking to be empowered, look no further than listening to ‘Billboards’ for yourself here. Sophie’s narrative is one we can all relate to in one way or another, but it’s time we let go of our fears and went for gold.

Written by: Tatiana Whybrow

Photo Credits: Matchbox Productions

// This coverage was supported and created via Musosoup, #SustainableCurator.

#tatiana

[existentialmagazine]

Review: Plastic Harpoons new glowy single ‘Better Than Dying’ delivers warm and groovy alternative-rock, weighted in a narrative of disappointment

After meeting in Santa Barbara while performing in the local music scene, the four-piece Plastic Harpoons came to life. With shared influences in acts like Rolling Stones, Queens, Mt. Joy and more, the alternative-rock group deliver work that carries through stylings of the past with a modernisation you cannot help but love. Now since sharing singles from 2022 onwards, they’ve built up a well-loved discography of music that proves why they’re sure to go far.

Bouncing into 2024 with something refreshing and bold, the group now share ‘Better Than Dying’, a groovy alternative-rock anthem made for the days where you’re feeling gloomy even under the summer sunshine’s rays. From a dazzling introduction that slowly leads you in with vibrant little pops of cascading piano, it’s hard not to feel better under the comforting arms of Plastic Harpoons. Funky bass twangs and bright electric guitar riff also weave through the introductory little taster of sound, a slow and mellow harbouring of tranquility made for you to sit back, relax and listen along to outside of life’s fast-paced expectations.

Settling into just steady beats, short bursts of guitar strums and lulling bass, the verse finds its way into your eardrums like it’s always been there. Little segments of bright keys, backing effects and instrumental moments set up the more atmospheric edge of the song too, carefully crafting your experience down to the smallest of details. The warm vocals are what truly mesmerise though, a rich performance that carries through a soft raspy twang you can’t help but want to sing along with. With charisma and emotion melted into one, you’re left lingering on every single line with an extra little bit of thought that’s only made possible by their vocalist’s stand-out tone.

The chorus is just as serene and slow-paced as ever, maintaining the track’s staple drowsiness, almost mirroring the more defeated lyrical admissions beneath. It does however pick up lightly, pushed along by concurrent repetitions of plucked guitar strings, matched by continued tumbling drums and some newfound dreamy backing vocals that add a haunting echo to every single line. The profoundly central lyrics are even harder to ignore here too, singing ‘the sun’s in the sky, so why am I crying?’ Finding that sometimes your emotions contrast with how you think you should feel, Plastic Harpoons narrative rings out at the most unavoidable yet, asking the questions that we all often feel - but can sometimes feel guilty for too. Continuing ‘didn’t get what I want, I got what I need. Still better than dying’ and looking for the positives in a deflating experience, there’s a ray of light in an otherwise dark moment, even when they got what they wanted and still found it just didn’t deliver what they really expected.

With an electric guitar solo filling the bridge, along with a stripped-back little intermission for the gorgeous vocals to soar, you’ll find that ‘Better Than Dying’ is that perfect pick-me-up tune for all your sad cry-it-out moments and feel-good playlist needs, somehow finding its way between the two. Keep listening here to really understand the power their sound holds, you won’t be able to find anything else like this.

Written by: Tatiana Whybrow

Photo Credits: Tynan Daniels

// This coverage was supported and created via Musosoup, #SustainableCurator.

#tatiana

[existentialmagazine]

Review: The Exhales newest single ‘kick the chair’ embodies warm, catchy indie-rock with a deeply meaningful message on suicide awareness

Since their musical beginnings in 2021, the upcoming indie and alt-rockers The Exhales found themselves quickly carving a name for themselves in the Scottish alternative landscape, marking their explosive entrance with a sold-out show at the storied 'King Tuts Wah Wah Hut' in early 2022. It’s not hard to see why they were so well-loved from the get-go either, with their sound carrying through it bombastic ambition, rich instruments, powerful vocals and lyricism laced in so much personal thought. With two impressive singles under their belt, the group have set off 2024 with a release that reinforces why this four piece are going to go far.

With a title like ‘kick the chair’, you kind of know what you’re getting yourself in for right from pressing play on The Exhales newest single, carrying through it a message that’s hard to stomach but eased by a sound that’s warm and comforting like a good friend in a time of need. From the steady, slightly fast-moving drums that open up the soundscape, to the slowly added rich bass twangs and guitar strums both acoustic and electric, you’ll find yourself whisked up by instruments that land somewhere between bold and loud, as well as intimate and personal. Perhaps that’s why when the vocals hit you feel right at home, coaxed in by their ability to mould together two contrasting senses with one experience made to pull at your own heart strings and experiences. The verse is lifted by this shift too, summoning a change with a backing riff and warmth seeping through their every word, a smoothly charismatic and emotionally charged vocal delivery wrapped into one performance you can’t help but want to sing along to from first listen.

The pre-chorus is unsuspecting, mostly blending in with the already tumbling sound, only quite noticeable in the way their vocalist’s words spew a little bit quicker, and the new ambient tones that whir behind the most poignant line of them all: ‘one good friend took the pills they gave, and one drove his car off the edge of a mountain, the other just kicked that chair.’ It’s hard not to feel breathless in the aftermath of hearing that, a sudden reality check from the opening’s setting of the scene: ‘such a beautiful place to raise the kids out of.’ In these moments you really start to get it, their narrative seeping through as The Exhales acknowledge the way that stagnant small towns can feel utterly isolating, with kids growing older only to feel trapped and distant from the world. From the way it jumps in with a witty sales pitch, to the twisting and distortion that shines through as they reveal the unseen reality, ‘kick the chair’ really proves that The Exhales have carefully crafted an approach you can’t help but feel in your bones.

The track begins to pick up after this with its first short initial chorus, rising through thundering drums, blaring electric guitar and clashing cymbals on the line: ‘don’t make me do this on my own, it’s not that easy.’ This held-back approach only makes it harder hitting when it all switches up the next time around, their protagonist asking: ‘should I just take those pills they gave me, or drive my car into their building? Should I kick the chair?’ As things hit close to home, the chorus finds itself at its loudest and longest yet, running through heavy-handed drum beats, brazen guitar and vocals that soar through highs and lows with a richness to every single emotionally lingering word. The sheer number of these losses is staggering in itself too, once again acknowledged when they add the line ‘it’s not so easy to mourn when you watch a kid buried over and over again’, a heartbreaking slither of grief.

While The Exhales champion a sound that feels modern and youthful the whole way through ‘kick the chair’, their entire delivery and lyrical talent carries soul well beyond their years, poetically expressing one of the most heart-wrenching experiences anyone could ever live through. As their lines like ‘now I’m sick to death of arranging flowers… and who’re they really for?’ will find themselves engrained in your mind for a long time to come, we encourage you listen deeply to the song for yourself here, as The Exhales music is not just made to be heard but to be felt, lived and remembered for a long time to come.

Written by: Tatiana Whybrow

Photo Credits: The Exhales

// This coverage was supported and created via Musosoup, #SustainableCurator.

#tatiana

[existentialmagazine]

Review: Tired of Fighting share a new alternative-rock single ‘Branches’, paralleling a dominant sound with an experience of both chaos and stability

The Newcastle 3-piece Tired of Fighting have been on quite the explosive musical journey since their 2019 beginnings, delivering the energy of Paramore with the story telling of pop-punk pros like Modern Baseball. Since their singular 2023 release ‘Out of the Forest’, the band have otherwise kept relatively quiet, performing live shows and building up to something seriously epic.

Sharing their newest single and first of 2024 titled ‘Branches’, Tired of Fighting continue delivering what they do best - a bold sound with hard-hitting words, and you won’t want to stop listening for days once you start. Jumping headfirst into loud, clashing drums and vigorous electric guitar strums, the momentum is there from the jump, captivating you with in-your-face noise and an energy that most bands can only capture performing sweaty in-person shows. A harshly shouted line cuts things short, lulling into a soundscape that’s more stripped-back than you’d initially expect from a trio known for boisterous personality. With just drawn-out guitar strums and pattering drums, they carve out a safe space between moments of chaos and fast-moving pacing, blending together both the calm and the storm into a patchwork that flow together rather than apart.

The message parallels this sense of disarray, torn between ease and friction with a narrative that explores all the challenges of getting older and the strength it’s taken to get to where you are now. Written especially for those that found a home in trauma or grief, ‘Branches’ looks to remind you that although you may be used to being on the edge, sometimes that “boring” normality is what you need - and deserve. Through flickering lines like ‘I wish that I could see outside of myself’ that seem hung-up and self-critical, to pleads like ‘I don’t wanna be a mess’, this internal conflict is one that runs deep and yearns for stability. Further continuing, ‘I light a candle on my windowsill, know I’m forever incomplete’ , the track aches for what has been taken from them and curses the scars from experiences they cannot unlive. Between the woes are desperate and determined lines that are just further empowered to get through it all, singing ‘I took the weight off of my feet’ while they’re finally able to appreciate how far they’ve come.

The song hurtles forward with a power and energy that cannot be stopped, the verses shifting into fast-moving guitar and drums, all the while emotively pushed vocals raspily sing of all the pain buried within. The chorus is the cherry on top though, slowing down with climactically hitting drums and carefully timed guitar strums. Backing vocals add an anthemic feel to their every poignant line too, blending a delivery that’s intensified both through their vocal performance and the echoes that line their undertones. If you want to feel deeply, whether it be reflecting on the skeletons in your closet or the euphoria that comes with letting it go, ‘Branches’ gives both experiences the space to breathe and feel. It’s personal but it’s also real damn loud, and that’s what makes it quite so meaningful - except for a bridge that hauntingly reigns it in, but we’ll leave that for you to listen to for yourself here.

Written by: Tatiana Whybrow

Photo Credits: Lang Shot Photography

// This coverage was supported and created via Musosoup, #SustainableCurator.

#tatiana

[existentialmagazine]

Review: The Trusted’s newest punk-laced single ‘Self Destruct’ offers gritty noise, anthemic attitude and never-ending adrenaline

The indie rock four-piece The Trusted have been hailing from Southend-on- Sea for a while now, creating some of the most daring releases to shake up the music scene in a long time. Their newest single ‘Self Destruct’ is no exception to that either, channeling the essences of punk, indie rock and new wave sounds into one hell of an anthem to be reckoned with.

From the squeaky amp feedback and gritty electric guitar that comes with pressing play on ‘Self Destruct’, The Trusted set the stage for a track that feels like it was born in a grungey, dimly lit garage venue, met with the sweaty packed-out moshers that feel the bass pounding through the floor. If that isn’t one hell of an opening picture to be painted, we don’t know what more you could want. It’s not long before things ramp up even further, boasting dark bass twangs, intermittent guitar strums and quickly tapped drums, with ‘Self Destruct’ bringing the energy before you’re even ready to let it sink in. The vocals are tinny and distant, like someone shouting through a wall begging to be heard while a band’s performance bleeds through, partially drowning them out. The two parts are far from separate though, with the blaring instrumental noise making the perfect home for lyrics made to be filled with attitude, force and in-your-face meaning.

The chorus absolutely explodes off the rails, still moving just as quickly as the verses racing momentum, but with one hell of an instrumental back up to deliver the fierce dominance that powers through the sound. With aggressively strummed electric guitar, booming bass, thunderous drums and vocals at their loudest yet, this moment is determined to be heard, felt and above all else, seriously mind-blowing.

The lyrics mesh perfectly with the never-ending racing spirits, delivering a narrative all about self-sabotage, and when you never get a chance to stop or think it’s certainly made clear that the protagonist in this new single is doing plenty of that. This message comes to life just as much through the sound as it does the words, caught up in the highs, always moving and indulging, and doing so with a recklessness that feels laced into every instrument’s raw tones and forceful performance. With the harsh vocal delivery adding more depth however, we hear some lines that make the experience what it truly is: ‘I’m in control, burn out like a cigarette.’ From feeling in control one second to swiftly falling apart and watching it become a blur, ‘Self Destruct’ is really built upon that internal false confidence we get when we’re out of out heads, not to mention a little self-destructive just through the mention of cigarettes. The chorus hook is most poignant though, coming in when the track is at its loudest and most self-assured, perhaps mirroring the peak of drinking and feeling completely out of it: ‘I wanna self destruct, I know I like it.’ The acknowledgement that they enjoy these damaging behaviours is far from a positive though, ringing out like a catchy line you want to chant, but carrying so much weight in the reality that sometimes you can take it too far. Continuing ‘my mind is spinning but I don’t wanna fight about it’, it adds a little defensiveness to match, feeling called out for their behaviour but ignorant to making a change. As they continue to delve into the experiences of an individual who is pushing their body and mind to dangerous extremes for the sake of a fleeting thrill, ‘Self Destruct’ comes to life as something you can’t get enough of (which is blatantly intentionally ironic, for the message), while preaching enjoying things in moderation.

Things simmer back down for the bridge’s intermission, slowly building tensions with more of a paired-back sound and rising instruments, getting back into the anthemic high that makes ‘Self Destruct’ the high-energy experience that it is. It doesn’t hurt that it ends off the back of an epic guitar solo either, so if you’ve been searching for a tune that’s unapologetically bold, you won’t want to miss this one here.

Written by: Tatiana Whybrow

Photo Credits: Jordan White

// This coverage was supported and created via Musosoup, #SustainableCurator.

#tatiana

[existentialmagazine]

Review: Lucy Wroe’s newest track ‘Heartbeat Wipers’ journeys through a soft palette of sound, haunting reverb and learning to be alone

London-based artist Lucy Wroe has always found herself releasing music without boundary, influenced by change-makers spanning all genres, from Charli XCX to Radiohead, Kate Bush and Caroline Polachek. Always looking to move forward, every release hits the refresh button, and since her debut in 2020 she’s continued to prove that. Between singles and EPs, Lucy now looks to share her newest and latest chapter in her journey: ‘Heartbeat Wipers.’

From pressing play on ‘Heartbeat Wipers’, you know the sound it’s going to deliver, rooted in a sense of nostalgia and longing. Opened by rhythmic windscreen wipers clashing against the pouring rain from the inside of an Uber, it’s clear that this moment was one of importance as Lucy found herself drawn to recording the ambience of it, and perhaps that’s why from those opening sounds you know that ‘Heartbeat Wipers’ is a track doused in complete honesty, authenticity and heartfelt revelations. It’s not long before this grounding recording is paused, replaced instead by bright piano keys, a tender acoustic guitar riff and Lucy’s glowing vocals, together delivering a performance that’s soft and sensitive. Pushing forward the sound continues to grow, lighting up through thudding beats, wispy backing vocals, haunting harmonies and reverb soaked instruments with the continued vibrant guitar cascading front and centre.

As an array of voices lead into a pulled-back pre-chorus moment, Lucy continues to balance two completely different perspectives of isolation. From moments that are pained and lonely with just few instruments to match, to others that seem to grow in confidence, surrounded by the warmth of the world, the familiarity of its gentle noises and more built-up sound, ‘Heartbeat Wipers’ thrives in complexity and an ebbing and flowing of noise. The chorus is no different, stumbling into more finger-picked acoustic guitar, drawn-out echoey backing notes, steady but distant beats and of course, Lucy’s vocal performance that releases into the most elegant but aching higher range. Her delicate performance underneath only adds a further sadness to her lines, like the ghost of herself is still lingering behind her evolution - or the protagonists - into a more self-confident person seen beaming right at the front of it all.

With a sound that mirrors its undertones beneath, ‘Heartbeat Wipers’ speaks of the harsh reality that can come with co-dependance. As the protagonist Lucy has penned found themselves relying on the one that knew them most, it became a harsh adjustment when their entire world shifted as things fell apart. Attempting to release the past, as well as accept that so much of their ex lover will always be within them, the words feel as though they are still becoming acquainted with this new existence and trying to fathom its changes to their reality. One of the opening lines says it most poignantly, ringing out ‘there’s a sharpness underneath, like a prayer through broken teeth’, acknowledging both the good and the evil that are entwined. Continuing ‘in the night you come back for more’, it’s made clear that though moving forward is their aim, the feelings and devastation is yet to pass as their thoughts still yearn for what once was. Comparing these reminders with other more abstract elements, Lucy sings ‘you are the water seeping through the cracks, the wolf watching the door’, referring to them as though they cause decay or are a fairytale-esque beast awaiting them at their most vulnerable. So much of ‘Heartbeat Wipers’ speaks in poems, niche references, metaphors and complexities, perhaps avoiding facing the feelings just as much by bottling them up and pinning them to distant meanings. But when the chorus finally sings ‘it’s the same goodbye a million times’ , it feels like our protagonist finally knows it’s over for good, and that reminder is acknowledged every time the chorus comes back around.

Keep listening to ‘Heartbeat Wipers’ here to really understand what Lucy has buried deep within, it’ll stay with you for a long time to come.

Written by: Tatiana Whybrow

Photo Credits: Max Bandicoot

// This coverage was supported and created via Musosoup, #SustainableCurator.

#tatiana

[existentialmagazine]

Review: Each Confide’s newest single ‘Different Day, Still The Same’ offers a dreamy, soft sound with a narrative that dreads repetitiveness of every-day

Since their formation, Glasgow’s synth and dreampop duo Each Confide have sold out headline shows, building a worldwide audience, and truly finding their sound that stands out from the masses. With big plans for 2024, and their second single of the year now releasing, this pair aren’t slowing down anytime soon.

Led in with a ringing phone, ‘Different Day, Still The Same’ seems to paint a picture of its title right before the music even hits, caught in a looping cycle of the same mundane loneliness and no way to escape. The music carries through similar qualities, delivering Each Confide’s staple glowing dream-pop sound with an edge of tiredness to it, yearning to exist in a plane just as magical as their music. With a bright, reverb soaked electric guitar riff front and centre, the slow strings ringing out slowly melt and distort into the backing of longing, drawn-out synth keys and steady scattered drums, together creating a palette that sees the brightest yellows tinted in shadows of black and grey.

The verse mellows out even further, captivating you through just elongated synth and easy-going beats, a performance that’s easy on the ears but intentionally paired-back and simple, mirroring the repetitiveness of their every-day. Things build a little with piano notes and more woody percussion, soft sounds that don’t add a lot of intensity or volume in their appearance, but sprinkle in a flavour that keeps the protagonist going even when it’s rough. The vocalist dances through the sound with words absolutely drenched in electronic effects, stripping back the emotions and filtering the delivery for something that wants to feel more produced and impersonal, hiding from their admissions with a distance.

The chorus pops out from this more woeful segment with a colourful shift, offering more intense beats; a burst of vivid synth keys that individually layer behind every word and a continuation of the drawn-out backing ambient synth for them to fade towards. But while it feels like a more optimistic intermission, the words are the complete opposite of that, highlighting so much of the same monotony: ‘yesterday got away… different day, still the same.’ With time fleeting, they feel so entangled in a never-ending pattern of the same old thing, hours passing and yet nothing could differentiate one day from the next. We’re also allowed more of an insight into the cause of this endlessness, singing ‘on your own, on your phone, thinking she’ll call.’ With perhaps a double-edged sword, Each Confide reveal the way our phones can often suck up our time and leave us feeling hollow, with quick-moving pictures, lifestyles that seem unrealistic and friends “living their best lives”, we’re often left feeling all the more isolated in the same four walls and even further from making a change. That’s not the only admission though, as they continue ‘waste of time, think you’ll find she’s moving on’ , evidently finding their life has become a lot more empty without the presence of someone who once made it whole.

While written about the jaded feelings that come with a romantic relationship seeing its course, Each Confide looked to pen the ways that the mind can work when going through the ups and downs towards the end of a relationship. Feeling trapped and no longer receiving what they once shared with someone, while still living beside them day-to-day, Different Day, Still The Same’ finds itself battling confusion, sadness, and a longing for what once was while ultimately knowing it’s fizzled out beyond repair. We couldn’t help but make our own connections while listening though, seeing it more as a post-breakup desire for someone that once brought light to their life - and that’s really the beauty of the song, it can be whatever you feel it is to you. If you’re looking for something a little dreamy, a little meaningful, and a lot enthralling, you’ll love ‘Different Day, Still The Same.’ Keep listening here, it’s worth it.

Written by: Tatiana Whybrow

Photo Credits: Unknown

// This coverage was supported and created via Musosoup, #SustainableCurator.

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[existentialmagazine]

Review: dwn bad shares second ever single ‘So Loud for a Leaf’, a dreamy but saddened haze that aches through the dance of a long-distance relationship

Based in the vibrant musical landscape of Houston, TX, the upcoming artist dwn bad has found himself teetering between genres at every turn, showcasing nuance in each new single. With his debut ‘Palace of You’ released earlier this year, it’s just the start of understanding this versatile musician and the capabilities of his need for such diverse artistic expression. As the sole instrumentalist in the band, Derek Silva imparts a dynamic and personal touch to each composition.

Sharing now ‘So Loud for a Leaf’, dwn bad allows listeners in to a new slice of what he’s capable of, keeping the same consistent themes of rawness and connection even when his sound unravels between sounds. There’s always a hint of easy-listening with him though, at least so far, as ‘So Loud for a Leaf’ flows through your eardrums with such a dreamy concoction of indie sound. From reverb soaked electric guitar strums to steady drum beats, bass twangs and a distant electric guitar riff, pressing play on ‘So Loud for a Leaf’ really is a breath of fresh air, taking you through a sunny palette that’ll leave you refreshed and rejuvenated like it were an experience handcrafted for just you. The verse continues to dance through this soft ambience, pulling back on some of the intensity for just drums, bass and gentle strums to come centre stage for a hazy little package that dreams are made of. The vocals are equally floaty and light, gliding through a wide range while drawing out lines and cascading from high to low with ease.

As things continue, dwn bad shifts the tone a little, still carried by undertones of vibrancy but now a looming cloud of melancholia works its way through. Contrasting against the colourful haze of guitar, the darker drums and bass melt together with the vocals that have now changed towards a down-beat delivery, humming into lows and dreary admissions. The echoey reverb adds an even further sense of yearning here, every word hanging in the air like a ghost haunting the sound, a distant sense from the prior tranquility and ease it had allowed for.

It’s no surprise that lyrically ‘So Loud for a Leaf’ is just as complex as the soundscape, weaving between happiness and sadness at all turns. Inspired by the delicacy of long-distance relationships, it finds itself navigating new beginnings and the courage it takes to trust again, but it’s unclear whether that be with a partner across the globe or if they’re the cause of their broken heart. The opening feels the lightest, asking ‘can I keep my cool?’ and beaming that ‘I’ll give it all to you’ , loved-up like the first moments of meeting and falling in love for someone tend to be. But as time passes, it feels like the weight of their relationship begins to become more and more heavy, struggling through departures as dwn bad sings: ‘when we say goodbye, take my jacket, hope it keeps you warm in the wintertime.’ This line alone is so simple and yet depicts so much, revealing they won’t be meeting again through the entirety of the winter season, as well as the aching both share at being apart, longing for something that makes them feel closer. Admitting ‘every time, I cry’ , so much of what’s unveiled feels conflicted, uncertain in the distance between them, but carrying so much love that ending it would be torture. One line in particular stands out though, questioning ‘is it safe with you?’, an evidently post-trauma based thought that’s doused in insecurity, wondering if they can really allow down their guard and be with someone without even the normal security of seeing them often. ‘So Loud for a Leaf’ is truly an interesting listen, jumping between the love carried and the undertone of what if’s, it perfectly encapsulates the rocky ship that can be a long distance love, but often it’s worth the ride. Keep listening for yourself here, there’s so much to hear and listen to, it’s worth it.

Written by: Tatiana Whybrow

Photo Credits: David Mejia

// This coverage was supported and created via Musosoup, #SustainableCurator.

#tatiana

[existentialmagazine]

Existential Magazine’s March Music Roundup

With the month coming to a close, we’re sharing just a handful of our favourite new releases we’ve discovered this March! Sit back, put on our New Music Friday playlist and spend a few minutes enjoying fresh new tunes hand-picked by us.

Courtyard - ‘townie'

The Guelph-based indie band Courtyard have always been drawn to one another as close friends, united by a shared love for creating art that shows within their carefully crafted music. With a sound that carries that authenticity and emotion, as well as layers that entwine influences from across the board into one patchwork of sound, Courtyard truly reign as something in a league of their own. At just over four minutes in length, their mesmerising new folky, indie-esque and light pop blend of sound ‘townie’ soars as a warm and captivating new treat. With a slow, dreamy electric guitar riff to open things up, the atmosphere is quickly established to be one of ease, at first isolated but with more peace in the quiet than sadness in the solitude. Nestling an impactful sound between these bookends of tenderness, Couryard hurtle forwards with groovy bass twangs, guitar strums and a steady beat that feel both intimate and loud all at once. Their female vocalist’s lines are a contrast too, bright and higher-toned against a sound that lulls through easy-going instrumental lows, bumbling through like the mundane of everyday life but with their own bursts of flavour. The sound isn’t the only thing that’ll pull you into ‘townie’ though, encompassing a lyrical journey that’s filled with just as much meaning while leaving it up to your own interpretation to truly uncover what they aim to deliver. Through insightful, almost poetic kinds of lines like ‘praying that Jesus won’t notice you sinning again’ , you cannot help but think deeper, left reflecting on not just their narrative but the choices in your life that seem to relate without thought. Through a hook that breaks as they sing ‘why would you ask me to stay?’ , you’ll find yourself wanting just one more replay, whether it be to listen that bit harder or just enjoy the ride.

Late Hala - ‘Saints and Sinners’

Boasting a dreamscape alike no other, the upcomer Late Hala has coined a sound that’s soaked in atmospherics, deep meaning and rich thought, taking you through journeys on another plane to anything else you’ve heard before. Adding to his careful selection of releases with a new offering ‘Saints and Sinners’, Late Hala continues to build-upon his hazy sound that detaches itself from reality entirely. From synth keys that build in intensity, seeping out with reverberated echoes and striking deeper layers, the introduction alone is beyond legendary. Soaring atop it with vocals that are both smooth and soft all in one, you can’t help but feel the lingering emotion in the air, hanging like a cloud of fog that surrounds your every being. Acoustic guitar strums rise into the choruses impactful intermission, complemented by a shift in the keys and a light change in the vocal delivery. But what makes ‘Saints and Sinners’ so enthralling is that it never stays in one place - or sound - for too long, with the second verse falling into gentle drums, a carefully finger-picked acoustic guitar riff and a raspier vocal humming of lines. Merging between modern electronics and stripping it down to the acoustic basics in instruments, there’s a lot of meaning to be found just in sound alone, but lyrically Late Hala has plenty to add. Inspired by the Peter Jackson WW1 film ‘They Shall Not Grow Old’, he explores themes of isolation and detachment that come with returning home from war, finding that life has changed entirely: ‘When the war is over you’ll try to join the crowd, only to find they shut you out.’ With sadness, confusion and a perspective that a lot of us have never considered, Late Hala brings it back to ground you with something new.

Sunbeam - ‘Give Me Something'

The Whitby-based alt-pop outfit Sunbeam hurtled onto the scene all the way back in 2018, delivering fans of the genre something they couldn’t find anywhere else. From past success seeing them supporting the Kaiser Chiefs, to singles racking up numbers on the iTunes charts, they’ve proven they’re a name to remember. Now returning to share new single ‘Give Me Something’, the group deliver something a little indie, a little britpop, and a little alt-pop as always, championing a sound just as warm as their band name. From striking, core acoustic guitar strums, bright backing intermission-like strums and their vocalist’s drawn-out, lightly raspy lines, you can’t help but feel the intimacy mixed with the rocky Northern twang. Things pick up a little, shifting into pattering drums and a vibrant electric guitar riff for a moment to follow a chorus that at first doesn’t quite make its presence all too well known. The longer things press on, the more it’ll start to become obvious - and you’ll be chanting along ‘give me something to believe in' on repeat for days. The lyrics are a little personal but digestibly light too, pleading for a friend or someone you care for to let you in so that you can help, and those heartfelt intentions are really carried through into the soft, dazed sound. Rooted in love and compassion, it’s hard not to love ‘Give Me Something’, rooting for someone you don’t even know and perhaps yourself a little as you sing ‘gone are the days you say nothing goes your way’, finding a comforting presence in Sunbeam for your own tumultuous ride.

BÖHMEN - ‘SEDATE’

The four-piece BÖHMEN have been making waves since they first entered the music scene many years ago, performing high-energy live shows and delivering singles filled with an unmatched force. Their newest release ‘SEDATE’ is no exception either, boasting raw and in-your-face indie-rock like the greats Catfish and The Bottlemen and Arctic Monkeys except with their own distinct way about it. With bold, clashing drums and a stand-out bassline thrust your way from pressing play, you can feel the tensions simmering in the air as you’re dragged along for a building journey of angst and attitude. The vocals are smooth, matching the low-toned performance with an equally subdued edge, but it’s not long before things come undone. With the leading chorus line ‘unleash the animal’ that quite literally does so for both sound and meaning, we see a propulsion into crashing drums, euphoric electric guitar strums and powerful climbing vocals, jumping into an anthemic chorus you’ll be singing along to before you’ve even learned the words. The sound isn’t the only thing that’s hard to ignore though, with a message that’s introspective and pushes you outside of your comfort zone to look within. With their narrative exploring how we often try to subdue ourselves emotionally, ‘SEDATE’ looks at how instead of tackling our insecurities and dealing with our mental health head on, many often lash out with negative behaviors as an outlet for emotional immaturity: ‘you can run but you cannot hide, ‘cause the feeling will wake you in the dead of night.’ With a darkness held within and a soundscape that matches the experience of dealing with it head-on, ‘SEDATE’ gives it all in a three and a half minute journey of serious noise and ambition, holding you accountable for things you’ve shied away from without forcing it your way in anything other than a divinely catchy new single.

Head Sound - ‘Optimistic’

Since their 2022 debut with the EP fittingly titled ‘Demos’, the upcomers Head Sound have really refined their pop and shoegaze blend to something recognisably their own, creating pieces that are as much art in the sound as they are the words. Now as 2024 begins, they share their second single of the year in ‘Optimistic', launching a new artistic offering in the form of an upcoming larger project. From an intro that fades into warm acoustic guitar strums; a bright electric guitar riff; steady drums and a whimsical echoey backing that sounds like whispers of voices and the softness of the blowing wind, Head Sound have really constructed a sound that captures the ambience of real life, like a living, breathing slice of their soul is ringing out for you to hear. The dreamy vocals perfectly glide through this haze of noise, capturing a mellow attitude in the reverb-soaked lines, left drawn-out and capturing that sense of nostalgia the entire track embodies through the lingering of every single moving part - like witnessing an echo from the past, still playing out in front of you. The lyrics are just as heartfelt, singing of one of the trio’s desires to be more positive like his wife: ‘I wish I was better.’ Through life’s constant chaos, it’s often easy to fall into the rut of allowing negativity to seep through the cracks and consume, tired, stressed and always a little on edge, but ‘Optimistic’ delivers that bright and much-needed reminder that it doesn’t need to be that way. Though a challenge to shift your perspective, yearning lines like ‘I wanna be more like her’ know that it’s attainable, and with the support of someone so loving they can easily reach that goal. It’s sweet, easy on the ears and really there’s nothing not to love, so don’t skip over this new single from Head Sound for a respite worth nestling in.

Lucky Number You - ‘Hands On The Horizon’

The three-piece alternative band Lucky Number You have been hailing out of Birmingham, UK since 2022. Blending timeless 80s and 90s pop and rock sounds into a style entirely their own, they’ve slowly but surely began to thrive as their fanbase appreciate the individuality they have on offer. Now as 2024 follows up on their debut album ‘Aftercare’ with their first single in two years, the trio now deliver ‘Hands On The Horizon.’ As a slice of infectiously good indie mixed with rock, pop and a little bit of funk, this track blares right down your eardrums with addictive basslines, tumbling drums and vibrant electric guitar riffs made to keep you on your feet and dancing the night away. It’s not long before gorgeously smooth vocals come through to back it all up, soaring through a range that’s easy on the ears and encourages a whole lot of singing along, especially on the moments where chant-along backing vocals add to the groove. The continued catchy guitar twangs and always shifting rhythms leave it continually engrained in your mind as it plays through, always bringing the energy no matter what. The chorus offers that final much-needed pop of colour things had been building towards, shimmering into powerful vocals, vigorous guitar strums, in-your-face drums and synth fireworks. The lyrics are just as positively brimming, offering motivational spouts throughout such as ‘keep your eyes on me, I know what you’re going through’ that seem to offer a comforting hand to anyone in need. With so much love to give and such a bright sound to do it in, there’s really no song better than ‘Hands On The Horizon’ for a pick me up.

Aoun - ‘Shears’

With over a decade of experience in the music scene, the New-York based artist and producer Aoun may be relatively new to sharing his work solo, but the years of honing in his craft show through every single song. Now as he gears up to release his debut album ‘The Shepherd & All Her Beautiful Sheep’, Aoun has been slowly but surely allowing his audience into singles that share snippets of the overarching experience carried through. His newest track comes in the form of ‘Shears’, a musical journey that builds with its embedded emotions inside of it, growing like it is alive and fluttering from feeling to feeling. From the opening’s tender, finger-picked acoustics that ring out into the open soundscape, it’s hard not to feel the aching resonance of every carefully lingering note peering straight into your soul. The vocals soon join into the mix of quickly plucked but rich toned strings, harmonising between primary vocals that are deep and resounding, with female backing from Big Dumb Baby on haunting lyrics like the opening childhood nostalgia of the nursery rhymed reference: ‘oh my darling, have you any wool? Yes I do dear, take what you can hold.’ As things ebb and flow forward, the vocals begin to come out of their hushed shell, reaching more powerful heights and emotive outbursts. Wind instruments, booming drums and more also add to the growing fluctuation in sound, an entire world unfolding in the musical narrative that is ‘Shears.’ The evolving sound links just as much with the message buried inside, delivering from start to end what comes with accepting the end of a relationship, looking back on it and seeing it for what it was both good and bad. At times it’s bleak and mournful, but other moments are vibrant and forgiving, appreciating the love that has come and gone as well as moving forward from it too. Every second of ‘Shears’ is worth listening to, and every line is one you’ll carry with you through your own relationships, setting up the anticipations for the album to be even greater than ever before.

Bang - ‘Turn Slow’

The South Asian American artist Bang has been influenced by many a differing music styles through his upbringing, from listening to classic Bollywood music with his parents to being shown the world of hip hop and pop in the early 2000’s, he’s taken on elements of everything that’s made him who he is and crafted music that stands out entirely on its own. Taking his earlier influences and blending them with with modern electronic and alternative sounds, his work that first debuted in 2021 has always made an impact for that striking individuality. Now 2024 holds one of his most powerful singles yet, ‘Turn Slow.’ Nestled between the warmth of acoustic guitar and soft, echoey vocals with resounding backing shouts, ‘Turn Slow’ finds itself to be more of an eclectic experience than anything else, a living, breathing, growing and moving visualisation of sound that wraps every rising vine and digging root further into the safety of your company. This only further develops through the additions of chattering bird noises, booming drums and other sound effects that leave you feeling as though you’re stood amidst the most thriving of rainforests filled with life, witnessing every vibrant colour, falling raindrop and flying bird around you. The reverberation of every little element just adds to that sensation, following you around every turn, every high and low, embedding a real place that you can actually see by carefully crafting a sound that leaves this atmosphere just on the edge of your fingertips. Bang’s vocals despite not feeling like something you’d hear amidst nature’s beautiful noises, is one of the most integral parts of the release, fluctuating through echoey distances and carrying with every line a sense of familiarity and comfort that sees through any front you try to put on. It’s like ‘Turn Slow’ sees deep into your soul, cherishing the littlest details and cradling authenticity. There’s really nothing else quite like it, and that’s why we hope you’ll press play and adore it just as much as us.

The Macarons Project - ‘Fade’

The Canada-based Indonesian indie pop and folk duo The Macarons Project have been carefully crafting releases since their 2015 debut, sharing their own original releases after a beginning in cover songs. Building notoriety for their cover of ‘Fly Me To The Moon’, the pair have slowly but surely built up their own discography of tracks that capture audiences with their own words and craftsmanship at the core. Their latest, and perhaps most haunting single yet, ‘Fade’ delivers a sound entwined with intimacy, pain and optimism all in one, stripping things down so they cannot be ignored. The acoustic guitar strums that unwind from pressing play are integral in setting up the atmosphere, their warm tones lingering in your ears like the feel of a crackling bonfire stays on your skin even from afar. Ree’s vocals are soft and floaty, rising and falling through a range that embraces both the highs and lows, singing ‘you’re my perfect one’ to her lover regardless of whether they be at their best or worst. Occasional echoey moments leave certain lines residually caught up in the soundscape like words stuck in your throat, creating a texturally soft and simple instrumental bedding that prioritises the importance of smaller details. Added bright piano keys shift the feelings towards positivity, an air of ease and uplifting guidance, even when the track feels so vulnerable it hurts. Channeling a narrative on the complexities of relationships, they find themselves cherishing a partner whether it’s rain or shine, reminding that a relationship is a partnership between you rather than a battle to be won: ‘you were right here from the start.’ It can often be forgotten with time that you need to continue to love, appreciate and make time for your partner, but ‘Fade’ reminds the importance of pouring back into the one who makes you whole. As The Macarons Project celebrate a decade of a musical journey, ‘Fade’ couldn’t possibly feel more fitting, singing of a lover who has been there through it all.

Gregory Ackerman - ‘Brand New Life’

The Los Angeles-based singer and songwriter Gregory Ackerman first began releasing music way back in 2014, championing a decade of his craft under his belt and his music shows every ounce of that care poured into it. Releasing his second single off the back of his 2023 EP ‘Mhm Okay.’, Gregory looks forward for a new project that’ll sweep you off your feet entirely. Though ‘Breaking My Heart’ was the first to come of the pair, ‘Brand New Life’ is instead where you start to feel bit less of the sadness and a lot more of the warmth, dancing through a daze that leaves every minuscule detail of life feeling ever-so important: ‘I like the way you smile when the sun is in your eyes.’ The soundscape matches that ease, plodding along through light and steady beats, soft bass twangs, intermittent hazy electric guitar and of course Gregory’s gently sung vocal performance. The delicacy behind his performance is filled with love and adoration, cherishing intimacy at its purest as he sings of a new love, and in particular when he had just met his soon-to-be wife. The lines are unaware of this blissful future though, simply excitedly living in the present moment and looking forward to watching a new relationship bloom with time: ‘I’d like to get to know you, and find out things… be nice to get to show you my everything.’ Backed up by distant female vocals on some lines, you cannot help but feel the love in the air, with ‘Brand New Life’ championing a sound that offers what the best loves are - easy. The chorus doesn’t wish to offer much change, evolving just through a few more bass twangs front and centre, as well as gorgeous strings backing up the performance. It’s light, airy and just a dream to listen to, picking you up from any low with comfort and care laced the whole way through.

Trash Pals - Sonya

The indie-rock duo Trash Pals have been taking over the scene since their debut last year, delivering their audience a sound that no one knew they were missing, but felt right at home with the second they first heard it. With their most recent single ‘Perfect Dream’ shared not that long ago, the pair are continuing momentum with something new in ‘Sonya’, an easy-going little tune all about accepting change. From electric guitar strums to steady thudding beats, the atmosphere is one kept casual and a little slowed, passing the time with you like two friends watching the sun set with no other place to be or responsibilities to worry about. The soft vocal delivery adds to that tranquility, carrying lines that are light and airy while every line feels rich with emotion. As the chorus creates a shift, Trash Pals pull back to drums at the forefront and the occasional acoustic guitar strum, creating an ambience that’s intimate but still dreamy and inviting. The vocals draw out every single lyric for a bit more of a haunting focus, with even more of a touch in the distant backing vocal lines behind them. Their delivery of the narrative is reassuringly real too, capturing the essence and pain that comes with change, while still giving you that warm embrace that’s needed when everything else feels uncertain: ‘Won't tell you things will be okay, just let you take it day by day.’ As they refuse to give false promises, their words become all the more sincere and helpful just through true and needed advice, giving something tangible in a situation that offers nothing else to cling onto. With one of the most integral lines beaming ‘close your eyes now, breathe’ , Trash Pals ground you throughout the entirety of this vibrant experience with something you perhaps never knew you needed - a friend by your side, through whatever changes you may face.

DAWKS - Friday Bliss

Closing out our Roundup for March are the exceptional DAWKS, an always ambitious solo artist hailing from Hartlepool. With some catchy indie-rock tunes in the back of his pocket, and a growing discography his audience have been buzzing to hear live across the globe, DAWKS has built up quite the repertoire - and that just makes his newest single ‘Friday Bliss’ that bit more exciting. With hoarse anthemic vocals that beam from the very beginning, it’s hard not to chant along to every loudly sung word and drawn-out line, merging a Sam Fender-esque feel with more of a raspy, raw performance. Steady drum beats and electric guitar strums complement the performance, sitting much quieter in the mix so the vocals can soar. It’s not long before they pick up a bit though, dancing as the volume rises to pave the way for a more in-your-face delivery of it all. The chorus doesn’t leave much behind either, collapsing into gritty guitar backing, thunderous drums and bright guitar twangs for an edge of contrast. DAWKS vocals are somehow even more thrust your way here, with many lines carrying a light backing reverb that makes them all the more prominent. From this point onwards, the sound shifts entirely, the beats simmering and tensely leading into one hell of a bridge. With shaken percussion, softer, more distant vocals, and more instruments coming in to join the party, it’s hard to keep up - but always a good time. With such a feel-good spirit embedded the whole way through, DAWKS has penned a narrative a little too relatable to most, seeing a protagonist entering adulthood and balancing all of life’s turbulence through it. When money worries meet financial independence, as well as distant friends, relationship cravings and more, DAWKS manages to off-set the overwhelm with one Friday night that’s always there to let it go for a while, reminding everyone that through it all you’ll make it work.

Give a listen to these songs and more in our New Music Friday playlist this week, or see our Roundup Recap playlist for every song previously featured in one of our monthly roundups that you might have missed!

Written by: Tatiana Whybrow

// Some of this coverage was supported and created via Musosoup, #SustainableCurator.

#tatiana