Tag: BBC Radio 1

New Video: Low Hummer Releases a Stylish and Sleek Visual for Angular “The People, This Place”

Rising Hull, UK-based post-punk act Low Hummer — Daniel, Aimee, Steph, Jack, John and Joe — can trace their origins through the individual members’ connections to their hometown’s DIY scene. After meeting and bonding over mutual interests, the sextet quickly established a regular rehearsal home at the DIY venue The New Adelphi Club, where they were able to develop and hone their own danceable take on post-punk that thematically focuses on their lives in East Yorkshire, their place in a consumerist world and bad news stories sold as gospel.

September 2019 saw the release of the their debut single “Don’t You Ever Sleep” through Leeds-based label Dance To The Radio. The members of Low Hummer quickly followed that up with their second single “I Choose Live News” that October. Both singles were released to praise from the likes of Clash, Dork, Gigwise and BBC 6 Music Recommends — with airplay on BBC 6. Building upon a rapidly growing national profile their subsequent singles “The Real Thing,” “Picture Bliss” and “Sometimes I Wish (I Was A Different Person) received praise from NME, Gigwise and Under The Radar Magazine and were championed by BBC Radio 1‘s Jack Saunders and Huw Stephens, BBC 6’s Steve Lamacq, Marc Riley, and Tom Robinson.

The Hull-based act’s highly-anticipated full-length debut Modern Tricks For Living is slated for a September release through Dance To The Radio, and the album’s first single “The People, This Place” is an angular post punk anthem that’s danceable yet full of seething disgust and frustration that makes the song a spiritual mix of The Clashand Wire— while voicing, the sort of frustration felt when you live in a dead-end town, with dead-end people and no real options or opportunities.

Directed by Luke Hallett, the incredibly stylish visual for “The People, This Place” features film noir-ish split screens between members of the band primping, preening, hanging out and being insouciant, the band playing in a rehearsal space. It’s part music video, part perfume commercial, part look into modern young people’s lives.

New Audio: Rising British Post Punk Act Low Hummer Releases a Seething Anthem

Rising Hull, UK-based post-punk act Low Hummer — Daniel, Aimee, Steph, Jack, John and Joe — can trace their origins through the individual members’ connections to their hometown’s DIY scene. After meeting and bonding over mutual interests, the sextet quickly established a regular rehearsal home at the DIY venue The New Adelphi Club, where they were able to develop and hone their own danceable take on post-punk that thematically focuses on their lives in East Yorkshire, their place in a consumerist world and bad news stories sold as gospel.

September 2019 saw the release of the their debut single “Don’t You Ever Sleep” through Leeds-based label Dance To The Radio. The members of Low Hummer quickly followed that up with their second single “I Choose Live News” that October. Both singles were released to praise from the likes of Clash, Dork, Gigwise and BBC 6 Music Recommends — with airplay on BBC 6. Building upon a rapidly growing national profile their subsequent singles “The Real Thing,” “Picture Bliss” and “Sometimes I Wish (I Was A Different Person) received praise from NME, Gigwise and Under The Radar Magazine and were championed by BBC Radio 1’s Jack Saunders and Huw Stephens, BBC 6’s Steve Lamacq, Marc Riley, and Tom Robinson.

The Hull-based act’s highly-anticipated full-length debut Modern Tricks For Living is slated for a September release through Dance To The Radio, and the album’s first single “The People, This Place” is an angular post punk anthem that’s danceable yet full of seething disgust and frustration that makes the song a spiritual mix of The Clash and Wire– while voicing, the sort of frustration felt when you live in a dead-end town, with dead-end people and no real options or opportunities.

New Video: Genesis Owusu’s Shimmering and Brooding “Gold Chains”

With the release of his debut, 2017’s Cardrive EP, the rapidly rising Ghanian-born, Canberra, Australia-based, 20-something artist Genesis Owusu — born Kofi Owusu-Anash — quickly established himself as a perpetually restless, genre-blurring chameleon with a defiant, difficult to pigeonhole sound an approach and an ability to conjure powerful and deeply personal storytelling in diverse forms. Cardrive eventually garnered an ARIA Award nomination for Best R&B/Soul Release and praise from Sir Elton John (!), NME, i-D, mixmag and others. And adding to a growing profile, Owusu has opened for the likes of Dead Prez, Col3trane, Sampa The Great, Cosmo’s Midnight, Noname, Animé, Ruel and others in Australia.

Last year, the rising Ghanian-born, Aussie-based artist released a handful of highly-celebrated singles including the fiery mosh-pit friendly banger “Whip Cracker” and the ARIA Award-nominated smash hit “Don’t Need You,” which quickly became the #1 most played song on triple J radio — and since then has received airplay in the UK on both BBC Radio 1 and BBC Radio 6 and here in the States on KCRW, KUTX, The Current and Alt98.

“Whip Cracker” and “Don’t Need You” will be on Owusu-Anash’s forthcoming 15 song Andrew Klippel-produced full-length debut Smiling With No Teeth. Slated for a March 5, 2021 release through House Anxiety/Ourness, Smiling With No Teeth reportedly sees the rising Ghanian-born, Aussie artist further honing and developing his genre-confounding sound and approach while charting the epic peaks and troughs of mental health struggles and his experience as a black man in a very white world that hates him — often for no particular reason. Much of the album’s material is centered round raw punk rock-like and hip-hop-like energy while routinely veering into industrial, punk, funk, trip hop and pop, sometimes within the same song. And as a result. the album’s brash and defiant material is seemingly dedicated to those who boldly refused to be boxed into stereotypes or cultural norms, and those who fit in everywhere and nowhere.

“Smiling With No Teeth is performing what the world wants to see, even if you don’t have the capacity to do so honestly,” Owusu explains in press notes. “Slathering honey on your demons to make them palatable to people who only want to know if you’re okay if the answer is yes. That’s the idea, turned into beautiful, youthful, ugly, timeless and strange music.” Each of the album’s 15 tracks can trace their origins back to studio jam sessions with a backing band that features Kirin J. Callinan, Touch Sensitive’s Michael DiFrancesco, World Champion‘s Julian Sudek and the album’s producer Andrew Klippel.

Late last year, I wrote about “The Other Black Dog,” a mind-bending production that meshed alternative hip-hop, industrial clang, clatter, rattle and stomp, off-kilter stuttering beats and wobbling synth arpeggios that was roomy enough for Owusu-Anash’s breathless, rapid-fire and dense flow. Managing to balance club friendliness with sweaty, mosh pit energy, the song is a full-throttled nosedive into madness that reminds me of the drug and booze fueled chaos of ODB, and the menace of DMX.

“Gold Chains,” Smiling With No Teeth’s fourth and latest single is a brooding and seamless synthesis of old school soul, strutting and swaggering G Funk and Massive Attack-like trip hop. Centered around shimmering and atmospheric synths, a sinuous bass line, stuttering boom bap beats and squiggling blasts of guitar, “Gold Chains” finds the rising Ghanian-born, Canberra-based artist adopting a sort of Mos Def/Yasiin Bey-like delivery, alternating between spitting dense and dexterous bars and crooning with an achingly tender falsetto. “‘Gold Chains’ got me thinking about the flaws of being in a profession where, more and more, you have to be the product, rather than just the provider of the product, and public misconceptions about how luxurious that is,” Owusu-Anash explains in press notes. “Lyrically, it set the tone for the rest of the album.”

Directed by frequent visual collaborator Riley Blakeway, the recently released video for “Gold Chains” alternates between luxurious and glossy, 70s inspired glam, glitter and commodities and a behind-the-scenes look at desperation and loneliness. The cars, gold, money and fame are empty and phony — and ironically only add to the protagonist’s increasing dissatisfaction with everything, including himself. “The video is about the hollowness of a lot of the things we hold as idols,” the rising Ghanian-born, Canberra-based artist told The Fader. “The shiny things that get made to look like goals from the outside looking in, but in reality won’t be the source of happiness that we’d hoped for. The gold chains become shackles.”

New Video: JOVM Mainstays Thyla Releases a Shimmering Ode to Loneliness, Heartbreak, and Survival

Rising Brighton, UK-based indie rock band Thyla can trace its origins to when its founding trio — Millie Duthie (vocals), Danny Southwell (drums) and Dan Hole (bass) — met while attending college. Bonding over shared musical interests, the band’s founding trio started writing original material together, but with the addition of Mitch Duce (guitar) , the band began to reimagine their sound and aesthetic, centered around a distaste what they felt was the stale, boring and tired state of the British recording industry.

As they quickly became JOVM mainstays back in 2019, the Brighton-based act helped to cement their hometown’s growing reputation for a music scene that features some of England’s hottest emerging acts while playing shows with Dream Wife, Luxury Death, Matt Maltese, Yonaka, Husky Loops, Lazy Day, Sunflower Bean, INHEAVEN and Fickle Friends. Adding to a growing profile in their native England, the band was spotlighted alongside Pale Waves, Nilüfer Yanya, and Sorry in NME‘s 100 Essential Acts for 2018.

The act’s debut EP 2019’s What’s On Your Mind was released to critical applause from Pitchfork, Stereogum, NME, The Line of Best Fit and Dork — and it received airplay from BBC Radio 1, BBC Radio 6, Radio X and KCRW. Adding to a momentous year, which saw the band receive attention from outside the UK, the Brighton-based JOVM mainstays opened for Rolling Blackouts Costal Fever, played attention-grabbing sets at The Great Escape, Live At Leeds and Hit The North. They then followed all of that with their first national tour, which also included one of their biggest shows to date at London’s Electrowerkz.

Last year, Thyla released their sophomore EP Everything at Once, which featured the anthemic and boldly ambitious “Two Sense,”and the shimmering yet anthemic, coming-of-age story “Lennox Hill,” which was arguably the most personal song the band’s Millie Duthie had written to date. And although, last year had put everyone’s career plans and aspirations on hold, the Brighton-based JOVM mainstays had been busy working on their long-awaited and highly-anticipated full-length debut

The quartet’s latest single “Breathe” is their first single of 2021 — and is the first taste of their full-length debut, slated for release later this year. “Breathe” is an atmospheric yet dance floor friendly track featuring glistening synth arpeggios, a sinuous bass line, squiggling blasts of guitar, stuttering four-on-the-floor, Duthie’s ethereal yet plaintive vocals and an enormous hook. While the song sonically may remind some folks of When The Night-era St. Lucia, the song manages to be completely of this moment: Thematically, the song sees the band further exploring the idea that in a constantly connected world, we are paradoxically even more shut off from each other as individuals, evoking the profound and uneasy loneliness many of us have been struggling with. And unsurprisingly, the song captures our longing for the normalcy and real world interactions we can’t have right now while touching upon the fact that we will all get through this somehow. It may change us but we will get through.

“‘Breathe’ was written in the early hours of the morning. Eventually we chanced upon this really vibey atmospheric lick that you hear in the intro, and the whole song grew from there,” Thyla’s Millie Duthie recalls. “The song blossomed into a slightly melancholic dream-pop bop, it’s bittersweet and has a slightly inconclusive feeling to it; imagine a film where the main character never actually gets the happy ending you’ve been so long yearning for. The result of how the instrumental sounded no doubt manifested lyrics that held the same sentiment. The song is about loneliness, estrangement from family and close friends, yet despite this, feeling a sense of inner strength about the situation. It’s like recovering from a breakup and realising you’ve come out stronger, but a reflection of the scar tissue that resulted from the trauma.”

Directed by Joseph Daly, the recently released video for “Breathe” is a glittering yet intimate and hazy, 80s prom-inspired visual that captures the band in intimate and lonely moments, seemingly finding their own strength to continue onward — with the video turning into a sort of dance party for the lonely.

New Audio: Paris-born, New York-based Artist Lizzy Young Releases a Trippy Visual for “CooCoo Banana”

Originally from the Parisian suburbs, singer/songwriter and multi-instrumentalist Lizzy Young spent a few years in Barcelona before eventually relocating to New York, where she’s currently based. The Paris-born, New York-based artist’s work draws from her own personal experiences while being influenced by Leonard Cohen, Louis Malle, Bette Davis, and Molly Nilsson.

Young’s full-length debut, the 10 song CooCoo Banana finds the Paris-born, New York-based artist crafting a refreshingly unique take on modern pop: sardonic humor-laced lyrics paired with lo-fi, bedroom recording — i.e, Casio keyboards and driving, dance floor friendly beats. Thematically, Coocoo Banana finds Young boldly diving into the beauty and ugliness of life. So far, Young has had her music played by BBC Radio 1 and BBC Radio 6 personalities Janice Long, Tom Ravenscroft, Jack Saunders, Cerys Matthews, and Steve Lamacq. Additionally, Tom Ravenscroft named her a Spotlight Artist and invited her to play a Selector Spotlight showcase.

CooCoo Banana’s latest single, album title track “CooCoo Banana” may remind some listeners of a narcoleptic take on Gwen Stefani’s “Hollaback Girl;” handclap-driven beats are paired with shimmering and tinny Casio synth arpeggios and Young’s self-deprecating vocals delivered with an ironic detachment. And while being a decidedly artsy take on pop, the song manages to accurately capture the mindset of a modern woman with all of her strengths and flews with a novelist’s attention to psychological realism.

Produced by GFY, the recently released video for “CooCoo Banana” is centered around a trippy and lo-fi concept: we see Young’s disembodied lips singing the song’s opening lines. We pull out of a lysergic, neon pink haze to see Young from the neck up singing the song in front of an equally neon pink background. As the song progresses, Young rubs a lotion that turns her entire face and hair into a fuzzy, electric rainbow before fading out. It’s trippy as hell.

New Video: Rising Ghanian-born Aussie-based Artist Genesis Owusu Peers into Madness

With the releases of his debut effort, 2017’s Cardrive EP, which garnered an ARIA Award nomination for Best R&B/Soul Release and praise from Sir Elton John (!), NME, i-D, mixmag and others, the rapidly rising Ghanian-born, Canberra, Australia-based, , 20-something artist Genesis Owusu — born Kofi Owusu-Anash — quickly developed a reputation for being a maverick presence with an ability to conjure powerful and deeply personal storytelling in diverse forms, centered around a genre-defying sound and approach that’s uniquely his own. Adding to a growing profile, Owusu has opened for the likes of Dead Prez, Col3trane, Sampa The Great, Cosmo’s Midnight, Noname, Animé, Ruel and others in Australia.

Building upon a rapidly growing profile, Owusu-Anash has released a handful of highly-celebrated singles over the past year, which have included “Whip Cracker,” and the ARIA Award-nominated smash hit “Don’t Need You,” which quickly became the #1 most played song on triple J radio — and since then has received airplay in the UK on both BBC Radio 1 and BBC Radio 6 and recently here in the States on KCRW, KUTX, The Current and Alt98.

“Whip Cracker” and “Don’t Need You” will be prominently featured on Owusu-Anash’s forthcoming 15 song Andrew Klippel-produced full-length debut Smiling With No Teeth. Slated for a March 5, 2021 release through House Anxiety/Ourness, Smiling With No Teeth reportedly sees the rising Ghanian-born, Aussie artist further honing and developing his genre-confounding sound and approach while charting the epic peaks of troughs of mental health struggles and his experience as a black man in a very white world. Centered around raw hip-hop energy, the material routinely veers into industrial, punk, funk and pop, sometimes within the same song. And as a result, the album’s brash and defiant material is dedicated to those who boldly refuse to be boxed in by stereotypes or cultural norms, or at the very least, don’t feel that they fit in anywhere.

“Smiling With No Teeth is performing what the world wants to see, even if you don’t have the capacity to do so honestly,” Owusu explains in press notes. “Slathering honey on your demons to make them palatable to people who only want to know if you’re okay if the answer is yes. That’s the idea, turned into beautiful, youthful, ugly, timeless and strange music.” Each of the album’s 15 tracks can trace their origins back to studio jam sessions with a backing band that features Kirin J. Callinan, Touch Sensitive’s Michael DiFrancesco, World Champion’s Julian Sudek and the album’s producer Andrew Klippel.

“The Other Black Dog,” Smiling With No Teeth’s third and latest single is a cinematic take on contemporary alternative hip-hop, industrial music and pop centered around Owusu-Anash’s breathlessly rapid-fire delivery and barking, and an industrial stomp featuring off-kilter, stuttering beats and wobbling synth arpeggios. Somehow managing to balance dance floor friendliness with a sweaty mosh-pit energy, the song is a full-throttled nosedive into the hell of madness that brings the drug and booze fueled chaos of ODB, and the fury and menace of DMX to mind. Thematically, the single finds the rising Canberra-based artist giving the fearsome inner and outer demons he lives with and informs his life, the “black dogs,” a name. “The track explores the internal struggle between a hopeful spirit of endurance, and a gnashing black hole of ugliness,” Owusu-Anash explains. “One is me, and the other is also me.”

Directed by Riley Blakeway, the recently released video for “The Other Black Dog” brings the track’s kinetic and forceful menace to vividly nightmarish life: the video finds the rising Aussie artist running for his life along a deserted, night time road, desperately trying to outrun a relentless and evil version of himself and the demons that feed off his fear and insecurities. The video suggests something deeply fearful and disconcerting that we all know but don’t want to admit: there’s no escape from the devils that torment our hearts and souls — and there’s no escape from the devils that torment us in our daily lives. You can run but you can never hide.

New Video: Aluna Teams Up with Kaytranada and Rema on a Sultry Club Banger

London-born and -based singer/songwriter Aluna Francis a.k.a. Aluna, is best known as one-half of the critically acclaimed and commercially successful electronic music duo AlunaGeorge. The past year/year-and-half or so have seen momentous changes for the London-based singer/songwriter: last year, Francis gave birth to her first child, a daughter named Amaya — and earlier this year, the acclaimed singer/songwriter announced that she would be releasing material as a solo material, building up buzz for her solo debut, Renaissance, which was released by Mad Decent back in August.

2020 has been a momentous year for Francis: singles off Renaissance have amassed over 30 million streams globally and radio airplay in over 30 countries, including BBC Radio 1, Triple J, KCRW, KEXP, Sirius XM’s BPM and Capital’s Capital Dance. Those singles have been playlisted on Spotify’s New Music Friday in over 20 counties — and she was placed on the cover of their Mint and Massive Dance Hits playlists. She also has been featured on Amazon Music’s Nectar and Apple Music’s New Music Daily playlists.

Back in June, Francis penned an open letter to the global dance community, demanding that the community re-assess platforms and positioning of Black creators within the dance world. “When I started looking at all the challenges I face being a black woman making dance I realized I wanted to do more than just create a space for myself – I want all black people to know that the genre of dance is their heritage and they should feel included and encouraged to create under that banner by expanding the genre to be culturally and racially inclusive,” the acclaimed British artist wrote.

And adding to busy year. Francis launched her own personally curated all Black, POC& F and women-led virtual electronic music festival, ALUNA & FRIENDS: RODEO RAVE, which featured DJ sets from BAMBII, GuiltyBeatz, UNIIQU3, Lady Bee, Kiddy Smile, Austin Millz and a live set from Francis, live streamed on Twitch from the Compton Cowboys Ranch in Los Angeles.

“Originally, putting together my dream festival line up (Black, POC and women DJs who play dope dance music) was an incredible goal, a chance to show exactly how I see the future of mainstream dance festivals.” Francis explains. “Then we found out the Compton Cowboys we’re down to help us put the festival on and all of a sudden you have this parallel of two black people in totally different worlds doing the same thing — re-invigorating the inclusion of black people in a space where we had been erased. Getting to connect like this is really what music should always be about — bringing people together. This is gonna be an epic cultural moment for myself and anyone who is looking forward to the future of dance music.”

Continuing upon that incredibly momentum, Renaissance’s latest single “The Recipe” finds the acclaimed London-based artist teaming up with equally acclaimed producer KAYTRANADA and Nigerian singer/songwriter Rema on a sultry and slinky Afropop and reggae- inspired banger, featuring glistening synth arpeggios, clinking percussion and an infectious hook. And at its core, the song is a feminist anthem, centered around an unvarnished and honest admission of what the song’s narrator — and in turn, creator — needs two make a relationship successful.

“It’s quite a girl power track,” Aluna exclaims in press notes. “As someone who has an inferiority complex and difficulty feeling confident, I’m introducing myself as a new person. I decided, ‘Be honest. Don’t pretend you’re a chill, low-key, and low-maintenance person, because you’re simply not. You’re an absolute basket case, and you need it all, or the relationship won’t work’.”

Directed by Reggie, the duo of Clay Dirske and Jake Herman, the recently released video for “The Recipe” draws from an eclectic array of sources visually and thematically — in particular, Renaissance-era France, Sophia Coppola’s Marie Antoinette, the Elizabethan era and others but with gorgeous Black people in the frilly finery. I’m fucking here for it, y’all. “I wanted to play with the way history has been dictated to us. Growing up in England you are constantly exposed to glamorous white history of period dramas without a black person in sight,” the acclaimed British artist explains in press notes. “I feel that since the British Empire was so heavily funded by slavery that history is ours too, we’ve just never been pictured in the finery…and I wanted to see what that would look like.”

The director team of Reggie adds, “This video brings together a lot of elements that you wouldn’t necessarily find in one place, but when combined create something magical. We drew inspiration from Aluna’s album name, Renaissance, the Elizabethan era, dancehall, Midsummer Night’s Dream, Busby Berkely, The Wiz and more. We were very fortunate to collaborate with an incredible cast and crew. Our choreographer Chris Emile, captured the energy of the song and the idea perfectly.”

New Video: Peel Dream Magazine Releases a Trippy Anachronistic Bit of Dreamy Psych

Joe Stevens is a New York-based singer/songwriter and musician and the creative mastermind behind the acclaimed psych rock project Peel Dream Magazine. Deriving its name from the legendary BBC Radio 1 DJ John Peel, one of England’s preeminent tastemakers, the band’s name is meant to evoke a certain strain of independent music. “I wanted to create an outlet for subcultural wanderers. Something you can subscribe to,” Stevens explains. 

Earlier this year, the New York-based psych pop act released their critically applauded sophomore album Agitprop Alterna, an album which draws from a wide set of post-punk, shoegaze and indie pop influences while possessing a self-assured and unique sound. Building upon the attention and momentum they’ve earned earlier this year, Peel Dream Magazine recently released the Moral Panics EP, a companion effort that features previously unreleased songs from the Agitprop Alterna sessions. Far from outtakes, the EP’s material are songs that can stand on their own — while functioning as a sort of corollary to their sophomore effort. 

The EP’s title is derived from Stanley Cohen’s Folk Devils and Moral Panics, a pivotal study of the media treatment of the mod movement and the political, societal and cultural fault lines that the media panic embodied. Unsurprisingly, the EP’s material continues Stevens’  and Peel Dream Magazine’s investigations into those frought and areas where art, culture and commerce meet. 

“Verfremdungseffekt,” Moral Panics’ latest single is a fuzzy, half-remembered dream centered around layers of arpeggiated and droning keys, a chugging bass line, shimmering, atmospheric guitars and ethereal vocals — with the end result being a mod-like take on psych rock that superficially sounds as though it could have been released in 1965, 1995, 2015 or — well, yesterday. 

Centered around footage of Stevens and Company performing at Chicago’sSleeping Village and Ottawa’s Cinqhole just before the COVID-19 pandemic, and the video is an eerie reminder of the things we all miss and can’t have right now — shows, bars, hanging out and bullshitting with friends. 

New Video: Mint Releases a Sultry and Ironic Visual for “Turbulence”

One the home of a prosperous fishing industry, West Marsh, Grimsby, Northeast Lincolnshire, UK has become a terribly bleak place. Its northern and eastern boundaries are formed by Alexandra Dock. Its western border is the smoggy Pyewipe Industrial Area. And its southern border, a major railroad line and Cromwell Road. Tourists have no particular reason to visit. The job outlook is poor and the area’s young people are desperate to escape. From what’s been conveyed to me, it’s the sort of hopeless place that should feel familiar to countless Americans — particularly, if you’ve been in the Rust Belt.

The emerging British post-punk quartet Mint — Zak Rashid. Veggie, Lenny and Bambi — hail from West Marsh, and they can trace their origins to when they all “attended” the same school and bonded while locking horns over their differing musical tastes: Lenny loved Nick Cave, The Birthday Party and The Pop Group and the remaining three band members loved indie classics and harder rock genres and styles 

The quartet went on to study at Grimsby Institute and while in school, they started Mint — but started taking it seriously in 2018. Of course, like a lot of contemporary indie bands, the members of Mint all have day jobs: Zak Rashid is a pro skateboarder and surfer by day and he taught himself graphic design on his free time. And when he’s not playing gigs, he runs the only surf shop in town while designing artwork for artists like Lucy Spraggan, Black Honey and False Heads. Lenny works at the cafe net door while Bambi and Veggie work shifts at the local soup canning factories. In a short period of time, they’ve already received airplay from BBC Radio 1 and play listing on Radio X; they’ve also made appearances playing at the major British music festivals. But last year they began to fully develop and realize their own sound: an idiosyncratic fusion of indie melodies to muscular instrumentation. 

The rising band’s latest single “Turbulence” is a seething and breakneck post-punk anthem centered around insistent and propulsive drumming, angular blasts of guitar and shouted lyrics expressing unease and anxiety with an increasing menace and uncertainty that evokes the vacillating thoughts and emotions of one seemingly in the middle of a mental breakdown. “It’s a nod to mental health seen through a cinematic plane crash” the band’s Rashid says in press notes. 

The recently released video ostensibly captures the fulfillment of the ultimate male fantasy — the horny teenager/young man being seduced by the sexually available and desirable teacher. Shot while adhering to social distancing guidelines, the student’s fantasy is reduced to being more along the lines of live sex shows and sexting — but it ends with a bitter and emasculating irony. 

The rapidly rising Newcastle, UK-based indie act FEVA — Sam Reynolds (vocals/guitar), Danny Castro (drums), James Gibbons (guitar) and Thomas Errington (Bass) — had a breakthrough year last year, that saw them open for Noel Gallagher’s High Flying Birds, The Vaccines, Pip Blom, Inhaler, and Lauran Hibberd. Although currently, things are bleak and uncertain, the band hopes that they’ll be able to continue the momentum of last year with the release of new material throughout the course of this year, and hopefully live dates during the fall.

Centered around enormous, power chord-driven riffage, thunderous drumming, rousingly anthemic hooks, Sam Reynolds powerhouse vocals,  and a remarkably self-assured delivery, the Newcastle indie quartet’s latest single “I Wanna Know” may arguably be the most ambitious and arena rock friendly song they’ve released to date. To that end, it shouldn’t be surprising that the song has already received praise from the likes of The Line of Best FitClash Magazine and Dork, as well as airplay from BBC Radio 1 and BBC Radio 6.

Interestingly, although the song is an arena rock friendly anthem, the band explains in press notes that the song is actually about reflection — or more specifically self-reflection, “As we make our way through life, it’s easy to lose ourselves and get caught up in things that in time, we realise never ever mattered,” the members of FEVA say in press notes. “This song is about taking a step back and remembering who you are and who you were, when life took its tool on you.”