London three-piece Honeyglaze, who have recently signed to the legendary Speedy Wunderground, deliver an honest and incisive second single in the form of “Creative Jealousy“, following their stunning debut track “Burglar”.
The choppy rhythms that begin the piece welcome lead singer Anouska Sokolow’s sincere lyrical offerings of creative inadequacy and doubt. At such an early moment in the band’s career, this truthfulness suggests that they are determined to work with openness and honesty from the get-go, promising more insightful musical contributions to come. The song is decisively shorter than “Burglar”, only reaching two minutes and sixteen seconds, but no less impactful and successful in what it sets out to do.
Speaking about the track, Sokolow explains:
“Creative Jealousy” came from the feeling of frustration I had during a creative block. I found myself looking around and feeling unable to live up to the high artistic standard set by my peers, not to mention my own expectations. The only thing I could think to do was to make fun of myself.”
Despite Sokolow’s worries, the band, who have supported the likes of W.H Lung and labelmates The Lounge Society, prove that they are capable of big things in no time at all, with upcoming shows playing alongside Katy J. Pearson and Lime Garden to name a few. It’s only a matter of time before the band headline their own tour.
Experimental London duo Jockstrap have just announced their signing to Rough Trade, alongside a brand new track entitled “50/50”, which asserts that the pair will not be defined by any specific genre.
Their previous tracks have blended electronica with classical arrangements and rap, however “50/50” is their most dancey and infectious yet. The track begins with the echoes of vocalist Georgia Ellery reciting vowel sounds, but the song only progresses into weirder yet wonderful territory, becoming equally clubby and fragmentary. “50/50” weaves in and out of thumping beats backed by repetitive lyrics, alongside glitchy sounds that unsettle the listener. The angelic tones of Ellery’s voice that have always been present in Jockstrap’s work still stand out despite the intense soundscape that surrounds us.
The band have also released a music video alongside the track, filmed on a handheld camera in the depths of Hackney venue The Glove That Fits during an encore of one of their recent shows. The sweaty bodies that thrash around to the track demonstrates the contagious energy the track emits.
Jockstrap are set to release more music next year, until then, listen to “50/50” below!
“Bread Song” has cemented itself as a fan favourite through its debut back in February on a Bandcamp live session. The track is decisively more intimate and tender than “Chaos Space Marine”, focusing on delicate guitar lines that slowly build with lead singer Isaac Wood’s melancholic tone. Lyrically, Wood uses breadcrumbs in bed as a metaphor for rejected intimacy. By taking cues from the everyday, Wood makes the song all the more painfully relatable for listeners. The track is arguably one of the bands’ most emotive yet, as the pain and longing in Wood’s voice drives the rising violin and saxophone.
In reference to Bread Song, Wood states:
“We wanted to do the first chorus with no time signature. I went to see Steve Reich do Music for 18 Musicians and there’s a piece where a bar length is determined by the breadth of the clarinet player, they just play until they run out of breath. I wanted to try that with the whole band, where we don’t look at each other, we don’t make too many cues, we just try and play without time – but together.”
“Bread Song” emphasises the band’s talent for creating gorgeous, intricate textures in their instrumentation, as well as cementing Isaac Wood as one of the most interesting lyricists to have emerged over the past few years.
Norwegian musician, Anna Lena Bruland, also known as EERA, has just released her newest single “The Beat”, ahead of her second album Speak, due for release 3rd December. The track has a brooding sensuality to its instrumentation, as a high pitched whir plays over an opening bassline.
Describing the track, Bruland says:
“It’s about getting convinced by these voices and these people and thinking that they are right… It’s my way of removing myself from these critics and saying if you can accept me for me then you can join me on my path.”
The song takes a steady rhythm with driving guitars, before breaking down into a gravelly, reverberating explosion, which Bruland describes as “a way of getting all that anger and frustration out and therefore starting afresh.” The sonic switch from a chaotic outburst back into a rhythmic pace shows Bruland’s ability to bounce back from self-doubt. “The Beat” is reminiscent of artists such as Sky Ferreira and Sharon Van Etten in its mysterious, brooding tone and vocal performance. “The Beat” and previous single Ladder are indicative of a rich and interesting second album to come.
After their Mercury Prize nominated debut For the First Time, Black Country, New Road have announced their second album, Ants From Up There, set to release 4th February 2022. With this announcement the genre-blending seven-piece have released the album’s first single, entitled Chaos Space Marine.
Black Country, New Road offer up their shortest track to date, structurally reminiscent of a pop song yet laden with jolting violins and abrupt drum beats that are trademark to the band’s sound. This is the most anthemic track the band have released so far, something out of their usual musical realm. The verses are backed by peppy piano that segues into a chanted, sing-along chorus that is inescapably catchy. The track travels with an anticipatory rhythm that builds beautifully into a slowed down outro, showcasing the band’s ability to retain effortless harmony with each other’s instruments.
Lyrically, the song maps out a journey of uncertainty, with lead singer Isaac Wood often contradicting himself throughout the track. However, there is one thing for certain – Wood’s belief that this “is the best song the band have ever written“. Black Country, New Road prove on “Chaos Space Marine” that they can condense their sound without compromising it; there is no shortage of sonic experimentation and fervent lyrical performance, all squeezed into a digestible 3 minutes and 36 seconds.
Remember concerts? Remember being able to drink with your mates in the sun without the fear of catching a deadly virus? We don’t. But The Mums certainly do.
Comprised of power couple Jack Pulman (Birdskulls) on guitar and vocals, singer Emily Brown and Luke Ellis (Muncie Girls), The Mums are a breezy indie punk project full of bright guitar riffs and fuzzy basslines. The Exeter trio recorded an EP of songs yet to be announced quietly over last year through lockdown, with ‘Summer Sauna’ being their first offering.
‘Summer Sauna’ gracefully takes you by the hand with its sticky opening melody. Pulman and Brown’s vocals go together like cookies and cream, with Ellis’s abrasive drum fills giving off heavy Pity Sex and Lemuria vibes respectively. Loud and soft, juxtaposing rapidly between sungazing without a care in the world and headbanging. With a chorus that blesses you like an unexpected hit of dopamine, we can’t wait to hear what else The Mums have in store for us in the future.