Category: indie rock

New Video: JOVM Mainstay Alison Mosshart Releases a Film Noir-ish Black and White Visual for Atmospheric “It Ain’t Water”

Alison Mosshart is a Vero Beach, FL-born, Nashville-based singer/songwriter best known as one-half of the acclaimed indie rock act JOVM mainstays The Kills — and for being the frontwoman of the indie rock/blues punk supergroup The Dead Weather. Over the past decade or so, Mosshart has been restlessly creative: her painting has been show in galleries across the world and she has published her first book, CAR MA, a collection of her art, photography and writing that serves as a love letter to all things automobile. In that same period of time, Mosshart has become a go-to collaborator, adding that extra dash of swaggering badassery, working with her Dead Weather bandmate Jack White, Arctic Monkeys, Primal Scream, Gang of Four, Cage The Elephant, Foo Fighters, James Williamson and Mini Mansions in a rapidly growing list.

2020 will continue a period of remarkably creative prolificacy for Mosshart: Currently, Mosshart and her bandmate Jamie Hince are working on the next Kills record, which they hope to be able to bring to the road — pandemic willing, of course. This year will also see Mosshart stepping out into the spotlight as a solo artist, releasing material under her name for the first time in her career. Although, releasing music under her own name is a completely new and thrilling experience, the album’s material can be traced back to unreleased material Mosshart had been compiling for the better part of the past decade. Now, as you may recall, last month, I wrote about her debut single, the  Lawrence Rothman-produced “Rise.” Initially tracing its origins to a song sketch that Mosshart wrote in 2013, the song is a slow-burning and searing blues with brooding and ominous undertones centered around thumping beats, fuzzy power chords, Mosshart’s imitable vocals and an enormous, arena rock friendly hook. 

Mosshart’s second and latest single is the atmospheric and brooding, Alain Johannes-produced and recorded “It Ain’t Water.” Centered around a sparse arrangement of shimmering acoustic guitars, strings and gently padded drums, the song manages to bring PJ Harvey, Nick Cave, and JOVM mainstay Mark Lanegan to mind. Although the song was written late last year, Mosshart had been sitting on the track for some time — with the acclaimed signer/songwriter guitarist turning to the then-unfinished track whenever she found herself battling a bout of writer’s block. 

“Working with Alain on ”It Ain’t Water’ was a blast. He’s such a talent and such a kind person,” the JOVM mainstay says of working with Alain Johannes. “His mind is wide open. He understands and sees the beauty in imperfection, magic moments, accidents- the soulful human stuff, and the spirited super-human hard to explain stuff that makes a song great. Working with him was an honor, and also, hot damn he can play any instrument like a champ . .  . like he invented the instrument himself. Alain Johannes IS music.” 

Directed, edited and shot by Mosshart, the recently released video continues a run of decidedly DIY visuals — but unlike its predecessor, its shot in an aptly film noir-like black and white and evokes our pandemic-influenced isolation, as we see the acclaimed Kills and Dead Weather frontwoman in her own home, expressively dancing in the background while we see a superimposed image of a sunglasses wearing Mossheart singing the song. 


New Video: No Joy Releases a Trippy Visual for Shimmering and House Music-Leaning “Birthmark”

Jasamine White-Gluz is a Montreal-based singer/songwriter, multi-instrumentalist and producer, best known as the creative mastermind behind the critically applauded recording project No Joy. Starting over a decade ago as a series of emailed riffs sent back and forth between White-Gluz and Laura Lloyd, the project has been centered around White-Gluz’s  restless experimentation, going through a number of different sonic permutations through the years with subsequent albums showcasing a penchant foe delay-saturated jangle, industrial distortion and sludgey drones over disco beats. 

In 2018, White-Gluz collaborated with Spacemen’s 3 Pete Kember, a.k.a. Sonic Boom on a collaborative EP that saw the Montreal-based singer/songwriter and multi-instrumentalist trading the guitars she was best known for, for modular synths on an effort that seemed indebted to Kid A and Amnesiac-era Radiohead. Interestingly, Motherhood, the first No Joy full-length effort in five years, is reportedly sort of return to form with the material echoing the project’s early shoegazer roots, while expanding the overall sonic palette with nods at trip hop, trance and with the reincorporation of guitars, nu-metal.

Slated for an August 21, 2020 release through Joyful Noise Recordings and Hand Drawn Dracula in Canada, the Jorge Elbrecht co-produced Motherhood is the culmination of several years writing outside of White-Gluz’s comfort zone and a return to DIY recording with a growing and deepening expertise in production. 

Touring with genre-divergent artists has helped the Montreal-based artist’s genre-defying sound and approach: while touring with Quicksand, No Joy picked up post-hardcore fans and ambient techno fans while touring with Baths. “As long as people are open minded about music, they can hear different things,” explains White-Gluz, “Maybe because there are a lot of layers.” “Birthmark,” Motherhood’s first single features atmospheric synths, propulsive boom-bap like beats further emphasized with muscular bongos and other percussion, shimmering blasts of guitars centered around a sng alternating loud and quiet sections and a soaring hook. Sonically, the song is a trippy yet seamless synthesis of Brit Pop, shoegaze, trip hop and house music.

Directed by Jordan “Dr. Cool” Minkoff, the recently released video was shot adhering to social distancing guidelines and features footage that White-Gluz shot at her home and stars Diavion Nichols, a dancer that the Montreal-based artists found on Instagram and a goat named Piquette.  “We made this video while in quarantine. I filmed myself at home and asked my very talented friend Jordan to help build a world around the footage,” White-Gluz says of the recently released video. “Diavion had been dancing to No Joy on his instagram and I was a huge fan so reached out and asked him to choreograph a routine for this song. While in the studio, I wanted to keep the energy fun and throw any ideas at the wall. We ended up watching the video for ‘Puff Puff Give’ by Hannah’s Field, pulled out some bongos, a broken clarinet, drank 12 bottles of sake and did group chants.”


Born in Brazil to Italian parents, Lucias Tadini is an Italian-Brazilian singer/songwriter and multi-instrumentalist based in Los Angeles, best known as Tadini. As a child, he attended a Chinese school, where he learned how to speak and read Mandarin. Eventually he relocated to Boston, where he studied at Berklee College of Music— and after completing his studies, he wound up playing in a number of bands and projects, which have allowed the Italian-Brazilian singer/songwriter and multi-instrumentalist to hone his sills as a singer, keyboardist and guitarist, as well as a producer and arranger.

Relocating again to Los Angeles, Tadini began crafting arrangements centered around guitar, a collection of Moog, a Mellotron or two and a theremin that drew from Jimi Hendrix, Led Zeppelin, Pink Floyd and the rhythms and melodies of his native Brazil in a genre-blurring fashion. The end result is the emerging artist’s forthcoming, full-length debut Collective Delusion. 

Interestingly, “The Arsonist” is the Los Angeles-based artist’s debut single — and the first official single off his full-length debut. Centered around explosive power chords, thunderous drumming and a rousingly anthemic hook, the song is full of arena rock friendly bombast and swagger paired with an incredibly self-assured performance that belies his relative youth. Written as he was relocating from Boston to Los Angeles. the song is a message about accepting and embracing change as a universal part of life.

“It’s the first song I wrote for the album,” Tadini says in press notes. “It is about setting one’s old self on fire (therefore the arsonist) in order to start fresh, kind of like a Phoenix. It symbolizes the beginning of my solo career”.


Raised in Istanbul, Benjamin Dean, an emerging singer/songwriter and multi-instrumentalist. who relocated to the US when he was a teenager. In his early 20s, he wound up in Atlanta, where he studied at Georgia State University‘s School of Music for about a year before leaving school to focus on his own creative projects.

After leaving Georgia State, Dean wound up performing at a a number of venues in the Atlanta area including Eddie’s Attic and Smith’s Olde Bar. Last year, Dean released a series of alternative folk singles before deciding that he should take his music in a completely new direction. Earlier this year, Dean started writing material, which began incorporating elements of New Wave funk, indie rock and R&B — with the end result being his latest EP, Tame the Beast, which was released earlier this year. The EP’s latest single “The Silence” is a slinky and funky track featuring shimmering and atmospheric synths Nile Rodgers-like guitar, thumping drums, a two-step inducing hook paired with Dean’s plaintive falsetto. And while centered around an incredibly upbeat air, the track sonically reminds me quite a bit of JOVM mainstays Tame Impala and Washed Out — earnest and thoughtful, yet dance floor friendly.




New Video: KAYE Releases an Epic Sultry and Cathartic Visual for “Howl”

Over the past couple of months, I’ve written a bit about Charlene Kaye, a rising New York-based singer/songwriter, multi-instrumentalist, and producer, who spent her childhood in some rather far-flung places across the globe — living in Hawaii, Singapore, Hong Kong and Michigan all before she turned 18. And although she spent time in a number of different places throughout the bulk of her childhood, there was always one consistent thing: her parents’ old soul records and 90s grunge radio, both of which have heavily influenced her own work and career.

Initially starting her career as a solo artist, Kaye is best known for a five year stint as the frontwoman of acclaimed indie act San Fermin, contributing to 2015’s Jackrabbit and 2017’s Belong, which were supported with touring internationally, including sets across the global festival circuit. While touring with San Fermin to support Jackrabbit, Kaye started her latest solo recording project KAYE, releasing a handful of singles and KAYE’s debut EP 2016’s Honey. Last year, Kaye left San Fermin to fully concentrate on her solo career. 

The rising New York-based singer/songwriter, multi-instrumentalist and producer started off the year with the Kirk Schoenherr-co-produced single “Closer Than This,” a bold and self-assured feminist pop anthem indebted to Cherelle, Patrice Rushen, Madonna and Control-era Janet Jackson that thematically touched upon lust, desire, longing, idealization, fantasy, self-preservation and centered around a narrator, who gives herself only on her terms. “Too Much,” Kaye’s second single of the year, continued a run of boldly feminist anthems centered around narrators, who have asserted themselves on their own terms — while being a decidedly electro rock affair that brought St. Vincent and Garbage to mind. 

“Howl,” Kaye’s third and latest single off the year, is a slow-burning and sultry track that finds its creator delving deep into the darkest recesses of her psyche with an unflinching and fearless honesty. And a result, the song’s narrator manages to be boldly self-assured yet insecure, fearless yet afraid to accept a loss of control, as well as accept who she may really be — someone who may not always be willing to sacrifice or settle, if it doesn’t serve her needs or what her particular vision is. “Cheryl Strayed has this quote—‘You can’t fake the core. It’s a god we must obey, a force that brings us all to our knees,'” Kaye says in press notes. “It got me thinking about how we’re always told to listen to our gut, our intuition – but what if our purest impulses are evil or self-serving, that may cause harm to those we love? What is the cost of choosing oneself?”

Interestingly, the release of “Howl” comes with the announcement of the title of her forthcoming and highly awaited full-length album — Conscious Control. “I named this album Conscious Control because my big lesson of the last few years has been abandoning my rational mind to guide my decisions, even if they made no sense at the time…throwing myself into uncertainty for the sake of getting closer to myself, even if it comes at great personal cost,” Kaye explains. “Letting this ethos guide my songwriting as well has yielded the boldest, deepest work I’ve ever done.”

Co-directed and edited by Kaye and Deborah Farnault, the recently released video for “Howl” not only marks the rising singer/songwriter and guitarist’s directorial and editorial debut, the video may arguably be the most disarming and visceral visual piece Kay has released to date: the video follows the rising artist around the California desert with a gorgeous, 40-foot long purple cape, luxuriously billowing behind her, digging into the sand and howling like a feral animal, and shredding on a mirror-covered Flying V guitar that she created. And much like the accompanying song, the visual evokes a unique feminine vulnerability and strength while being cathartic — a howl of grief, rage, self-loathing and passion, shot with a gorgeous fashion forward sensibility. 

New Video: Peter Bibby Releases a Feverish and Watery Visual for Rowdy and Explosive “Oceans”

Peter Bibby is a rising and critically applauded Fremantle, Australia-based singer/songwriter and guitarist, who started his career when he turned 19, quitting the job he had at the time to busk, eventually landing a few paying gigs. Sometime later, Bibby landed a high paying job that he eventually lost because he would show up hungover from the gigs he’d play the night before. So, he wound up playing even more gigs with a series of different backing bands including Frozen Ocean, Fucking Teeth and Bottles of Confidence while developing a unique, rough and tumble sound and approach — one that many have described as being like Shane McGowan screaming at bleeding laudanum and typhoid hallucinations while his guitar playing with his guitar playing like a dog drunk on rum. 

With the release of his first two album’s 2014’s Butcher/Hairstylist/Beautician and 2018’s Grand Champion, Bibby has also been championed as an inherently working-class and wholeheartedly independent artist, commemorated in the 2018 documentary Chasing Palm Springs, which followed Bibby on a cross-country trip from Perth to Melbourne in a  temperamental van. Along with that, the Fremantle-based artist has begun building up a growing profile as a must-see act as a result of rowdy and raucous live set through headlining shows and stops across the international festival circuit — particularly with stops at Laneway, Falls and SXSW. 

Interestingly, today marks the release of Bibby’s first bit of new material since Grand Champion, his latest single “Oceans,” features his latest backing band, the rowdy and disorderly Dog Act, “Strawberry Pete” Gower (bass) and “Dirty Dave” Taylor (drums) — and the track is a wobbly, boozy and disorderly take on garage rock that’s full of spittle, fury and howled invective, fuzzy and lurching power chords, thunderous drumming and drunken shout worthy choruses that to my ears reminds me a little bit of Johnny Thunders’ “Born to Lose,” John Cale’s “Pablo Picasso” and others — but much more unhinged. 

“‘Oceans’ started out as a little sea shanty-esque poem scrawled on a piece of paper about going mad in the middle of the ocean. With the help of the Dog Act it soon morphed into a fairly raucous tune,” Bibby explains. “I used vibrato on the guitars to give it a wobbly seasick kind of sound, and we had some mates join us in the studio to sing along and clink beers together in the final chorus to give it the vibe of a pack of people getting drunk on a boat. As far as I recall, it is the only song I have written about losing one’s mind out at sea.”

Directed and shot by Duncan Wright, Luna Laure and Rhys Jones, the recently released video was shot around Fremantle and features Duncan as a shabbily dressed merman, a fisherman, a loutish, local drunkard and a drowning man — and each of those characters in one way or another is slowly going mad. It’s a dizzying and lysergic fever dream seemingly inspired by way copious amounts of booze, despair, loneliness and seasickness.  “The video was shot around Fremantle over a weekend by Duncan Wright , Luna Laure and Rhys Jones who came up with the whole idea in no time flat after COVID-19 put holes in our original plan,” Bibby says of the video. “I got to pretend I was a poorly dressed mermaid, a wharfy, a fisherman and a drowning guy as well as have a pretty damn good time doing it. I got a lot of seawater in my mouth for this video, but as we say in the game you have to suffer for the art. This is my second video featuring work overalls.”

New Video: Acclaimed Indie Artist Soccer Mommy Goes on a Virtual 8-Bit Tour

Sophie Allison is a Swiss-born, Nashville-based singer/songwriter and guitarist, best known as the creative mastermind behind the critically applauded indie rock project Soccer Mommy.  Allison first picked up guitar when she was six — and as a teenager, she attended Nashville School of the Arts, where she studied guitar and played in the school’s swing band. By 2015, the Swiss-born, Nashville-based singer/songwriter and guitarist began posting home-recorded songs as Soccer Mommy to Bandcamp during the summer of 2015, just as she was about head off to New York University, where she studied music business at the University’sSteinhardt School of Culture, Education and Human Development. 

While she was in college, Allison played her first Soccer Mommy show at Bushwick, Brooklyn’s Silent Barn. She caught the attention of Fat Possum Records, who signed her to a record deal — and after spending two years at NYU, she returned to Nashville to pursue a full-time career in music. Upon her return to Nashville, the acclaimed Swiss-born artist wrote and released two Soccer Mommy albums — 2016’s For Young Hearts through Orchid Tapes and 2017’s Collection through Fat Possum Records. Her proper, full-length debut, 2018’s Clean was released to widespread critical acclaim, and as a result of a rapidly growing profile, Alison has wound up touring with Stephen Malkmus, Mitski, Kacey Musgraves, Jay Som, Slowdive, Frankie Cosmos, Liz Phair, Phoebe Bridgers, Paramore, Foster the People, Vampire Weekend, and Wilco.  

Before the COVID-19 pandemic, 2020 was gearing up to be a massive year for the young and rising singer/songwriter and guitarist: she began the year by playing at one of Bernie Sanders’ presidential rallies and had joined a list of contemporary artists, who endorsed his presidential campaign. Allison’s highly-anticipated sophomore album color theory was released to critical applause — and building upon a rapidly growing profile, the Nashville-based artist had been gearing up for a massive year: she was about to embark one a headlining tour with a number of dates sold-out months in advance, along with that, she had lined up appearances across the global festival circuit that included a stop at Glastonbury. Additionally, she was supposed to make her late-night, nationally televised debut on Jimmy Kimmel Live!

With touring being on an indefinite half for the music industry, the Swiss-born, Nashville-based singer/songwriter and guitarist recognized that this was a unique opportunity to get creative and experiment with new ideas. Combining her love of video games and performing, Allison held a digital concert on the online gaming platform Club Penguin Rewritten with over 10,000 attendees, who all had to make their own penguin avatars to attend it. The concert was so popular, that her fans crashed the platform’s servers, forcing a rescheduling of the event. Allison has also performed a number of live streams events, including  NPR’s Tiny Desk At Home (which she kicked off) and Pitchfork’s IG Live Series. And she also recently released her own Zoom background images. 

Recently, Allison and company embarked on a an Bella Clark-directed 8-bit virtual, music video tour in which the band plays some of the cities she was meant to be passing through — Minneapolis, Chicago, Seattle, Toronto, and Austin. Instead of virtually playing at the more common tourist locations or a traditional music venue, the members of the band are mischievously placed in unusual locations: an abandoned Toronto area subway station, a haunted Chicago hotel, a bat-filled Austin bridge and more. Interestingly, the video four features the virtual band playing the album’s latest single “crawling in my skin.” Centered around looping and shimmering guitars, a sinuous bass line, shuffling drumming and subtly shifting tempos, the track reveals a remarkably self-assured young songwriter, who has an unerring knack for pairing earnest songwriting with an infectious hook. (Oh, and you’ll see the band adhering to social distancing rules while virtually performing!)  

“It’s really hard having our tour be postponed because I was really excited to play all of the songs on color theory for everyone, ‘crawling in my skin’ in particular,” Allison says. “I hope this little 8-bit performance can hold everyone over until the tour can happen.”

New Video: JOVM Mainstays High Waisted Return with a Mischievous and Brightly Colored Visual for Achingly Vulnerable “Modern Love”

Founded back in 2014 by co-founder  Jessica Louise Dye (vocals, guitar) and Jono Bernstein (drums),  New York-based JOVM mainstays High Waisted have received attention across the blogosphere and elsewhere for a sound that draws from surf rock, garage rock, dream pop, Riot Grrl punk and punk rock, for a high-energy live show and their popular DIY concert showcase/booze cruise High Waisted at Sea.

The band’s Bryan Pugh-produced full-length debut On Ludlow further cemented their reputation for scuzzy, party ’til you drop rock — but just under the surface, the material revealed vulnerability and ache.  The JOVM mainstays spent most of 2016 and 2017 on a relentless tour schedule across the country opening for the likes of Brazilian Girls, Shannon and the Clams, Titus Andronicus, The Donkeys, Har Mar Superstar, JOVM mainstays The Coathangers, Jessica Hernandez, La Sera, Diarrhea Planet and La Luz, as well Riot Fest in both Chicago and Denver.

The JOVM mainstays have received praise from the likes of Consequence of Sound, Noisey, Paste, NME, who named them a “Buzz Band to Watch”  GQ, who declared them “The Ultimate Party Band” and they were named one of the buzziest bands of SXSW in 2018 and 2019 — all of which have helped to firmly cement their long-held reputation for being a non-stop party machine, while going through a series of lineup changes.

Since the release of On Ludlow, the the band contributed “Firebomb,” a scuzzy, ass-kicking, power chord-driven Lita Ford and Motley Crüe-like single to a split single with The Coax, which they supported with further relentless touring with Hundred Hounds, Beechwood and others.

Despite being badly injured in a car accident while biking in NYC last summer, Dye, Bernstein and company have remaining rather busy: they appeared in a NYLON feature, contributed to a Record Store Day release compilation with Bikini Kill, Lenny Kaye, and Atmosphere, wrote a song for NPR’s More Perfect and were featured on their podcast, played a headline show at Las Vegas’ Hard Rock Hotel and wrapped up their successful  High Waisted at Sea booze cruise and showcase, released four music videos on Left Bank Magazine  — and completed work on their highly anticipated sophomore album Sick of Being Sorry.

Slated for a May 22, 2020 release, the JOVM mainstay’s sophomore album continues their ongoing collaboration with Tad Kubler — and thematically, the album focuses on finding hope in hopeless situations and having the strength to get up after being knocked down and having the world scream at you to stay down. Now, as you may recall, earlier this month, I wrote about album opener “Boys Can’t Dance,” a rousing, party anthem centered around a plucky, heart-on-your-sleeve earnestness while further establishing the sound that has won them attention across the blogosphere and elsewhere: a seamless hook-driven mix of surf rock, Riot Grrl punk, dream pop, garage rock and 60s pop. 

“Modern Love” Sick of Being Sorry’s latest single features a surf pop-like arrangement of shimmering and reverb-drenched guitars, a strutting bass line and propulsive drumming   — and while continuing in a similar sonic vein as its immediate predecessor, the song may arguably be one of the most achingly vulnerable and tender songs in their growing catalog. Much like all love songs, “Modern Love” is centered around longing that familiar desperate longing for that object of affection but with the recognition that love in any and all forms is a sort of surrender to something other than yourself. But there’s an underlying irony to the song: love ain’t easy, because it’s full of contradictions and often makes very little sense. And as a result, you have to figure out a way to be protect yourself while figuring out how to remaining vulnerable and true to yourself. 

Directed by Jenni Lang and Logan Seaman, the recently released video for “Modern Love” is a mischievous mix of live action and brightly colored and lysergic animation and imagery as we follow the band’s Jessica Louise Dye through a fantastic adventure. “Jenni found a quote that says ‘to love is to destroy and to be loved is to be destroyed.’ That really inspired us to write a story about love and power. Jess would be the heroine in the story, not only because she looks badass on the stage, but because she represents many modern women. As her character lives a happy and love-filled life, she encounters situations where she needs to step out of her comfort zone in order to protect her love. It’s a metaphor for modern love. You can’t just live happily ever after like in the movies. There are moments in which we struggle. It’s a journey of learning to be yourself, and most importantly to be brave.”

Camille Berthomier is a Poitiers, Vienne, France-born, London-based singer/songwriter, actress, author and musician, professionally known as Jehnny Beth — and as the frontwoman of the Mercury Prize-nominated, critically applauded act Savages. With Savages, the Poitiers-born, London-based singer/songwriter and multi-disciplinary artist has developed a reputation for a unique lyrical perspective and a powerful stage presence that has captivated audiences across the world over the past 15 years.

Now, as you may recall. Beth’s solo debut, To Love Is To Live was originally slated for release later this year through Caroline Records — but the album was recently pushed back to June 12, 2020, as a result of the Beth’s desire to support local, independent record stores by ensuring that the physical album could come out at the same time. “Record stores are where I found myself as a teenager, digging through albums that ultimately shaped who I have become,” Beth says in press notes. “To release my first ever solo album in a way that would leave them out felt wrong to me; luckily, we were able to find a date that would allow us to release the physical and digital album at the same time.”

Recorded in Los Angeles, London and ParisTo Love Is To Live finds the longtime Savages frontwoman boldly stepping into and claiming the spotlight as a solo artist, while collaborating with an eclectic array of producers and artists including Flood, Atticus Ross, longtime collaborator and Savages bandmate Johnny Hostile, Adam “Cecil” Bartlett, The xx’s Romy Madley Croft, IDLES‘ Joe Talbot and Golden Globe-winning actor Cilian Murphy. Thematically, the album sees Beth tapping into and accessing the darkest and least comfortable parts of herself to craft material that’s cathartic, abrasive, fearlessly honest and vulnerable, making the material a dark and cinematic meditation on the very strangeness of being alive.

So far I’ve written about two of the album’s singles: the brooding and atmospheric “Flower,” a track that was reportedly written about a pole dancer at Los Angeles’ Jumbo’s Clown Room and seethes with a feverish and obsessive lust  — and “Innocence,” a dark ad sultry track that evokes the uneasy feelings of isolation, loneliness while ironically living in a big city surrounded by seemingly endless people. “Heroine,” the album’s fourth and latest single is centered around a similar, slinky off-kilter motorik groove as its immediate predecessor, rapid fire four-on-the-floor shimmering synth arpeggios and an achingly vulnerable vocal performance from Beth, the track probes deeply into the dark recesses of her psyche with a fearless abandon.

“When I think of this song, I think of Romy from the xx strangling my neck with her hands in the studio,” Beth recalls in press notes. “She was trying to get me out of my shell lyrically, and there was so much resistance in me she lost her patience. The song was originally called Heroism, but I wasn’t happy because it was too generic. Flood was the first one to suggest to say Heroine instead of Heroism. Then I remember Johnny Hostile late at night in my hotel room in London saying ‘I don’t understand who you are singing about. Who is the Heroine? You ARE the Heroine’. The next morning, I arrived early in the studio and recorded my vocals adding ‘to be’ to the chorus line: ‘all I want is TO BE a heroine.’ Flood entered the studio at that moment and jumped in the air giving me the thumbs up through the window. I guess I’m telling this story because sometimes we look around for role models, and examples to follow, without realising that the answer can be hidden inside of us. I was afraid to be the Heroine of the song, but it took all the people around me to get me there.”