Tag: Huw Stephens

Video by William Ruben Helms

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.

Single Review by William Ruben Helms

Liam Brown is a Liverpool-based singer/songwriter, multi-instrumentalist, electro pop artist and producer, best known as the creative mastermind behind the applauded, 80s synth pop-inspired, JOVM mainstay act pizzagirl. Since exploding into the blogosphere in 2018 with Brown has released two EPs, 2018’s an extended play and season 2 and his full length debut, 2019’s first timer — all of which have been championed by a handful of BBC personalities including Huw Stephens, Annie Mac and Lauren Laverne, Gemma Bradley, Shaun Keaveny and Radcliffe and Maconie, as well as KCRW’s Travis Holcombe, The Guardian, The Sunday Times, NME, DIY, Highsnobiety, Wonderland, The Line of Best Fit and a growing list of others.

Brown’s sophomore album, Softcore Mourn is slated for a July 16, 2021 release through Heist or Hit Records. Reportedly, the album will further establish his critically applauded aesthetic, in which he actively pits maximalist pop sounds against claustrophobic production but while delving deeper into the emotional hard-drive in a way that may remind some sonically and thematically of LCD Soundsystem and The Postal Service. But at parts, the album’s material can be seen as a return to form with the album drawing a bit from the sonic palette from an extended play.

“Bullet Train,” Softcore Mourn‘s second and latest single is a high octane banger featuring a chugging synth bass line, twinkling synth arpeggios, Brown’s plaintive vocals paired with a rousingly anthemic hook that sonically recalls mid 80s New Order — i.e. “Bizarre Love Triangle” and others. But despite the uptempo thump and neon colors, the song is ironically rather downbeat, with the song detailing the bitter and uneasy feelings of a nasty breakup.

“Here’s my second single ‘Bullet Train’, another breakup song I think,” Brown says, “but this time, at 200mph. I sound really bitter on this, and for good reason I’d say, my screen time is high, my battery is low and there’s no 5g at the end of this tunnel; haha ;)” 

 

Single Review by William Ruben Helms

Harvey Causon · Extended Present

Harvey Causon is a rising Bristol, UK-based singer/songwriter, multi-intrumentalist and producer. With the release of “London Stock,” “Worn You,” and “Artifice,” Causon exploded into the national scene, receiving attention across the blogosphere and airplay from BBC 1’s Annie Mac and Huw Stephens for a sound that seems to be the result of constant and uneasy paradoxes: rough field recordings within polished, modern productions featuring a mix of analog and synthetic. Inspired by Mount Kimbie, FKA Twigs, Kendrick Lamar, and Delia Derbyshre, among others, his work aesthetically meshes R&B, jazz and skittering electronica, while featuring catchy hooks and his soulful and melodious vocals.

Lyrically, his work reveals a thoughtful and novelistic approach with material touching upon philosophy, quantum physics and architecture. And as a result, Causon has become a highly sought-after collaborator.

Building upon a growing profile, Causon’s forthcoming EP Fourth Wall is slated for a June 26, 2020 release. So far, three singles have been released from the EP — “Half Hour Verve,” “Blind Eye,” and the EP title track “Fourth Wall.” The EP’s fourth and final single “Extended Present” further cements the EP’s overall sound: warm, singer/songwriter soul-inspired electronica featuring twinkling keys, atmospheric electronics, skittering beats and Causon’s soulful vocals. Sonically, “Extended Present” may bring comparisons to Bonobo, Amnesiac-era Radiohead, Gravity Pairs-era Beacon, and Hiatus Kaiyote among others.

Harvey Causon · Fourth Wall

“‘Extended Present’ is a song about spacetime and gravity inspired by theories of theoretical physicist Carlo Rovelli,” Causon explains in press notes. “The almost chimerical realisation that time is merely a construct, nonlinear and that gravity and time are interwoven into the fabric of the universe. It was really interesting to work with different people across the globe recording the strings from isolation.”

 

 

Video by William Ruben Helms

Lyric Video: Gengahr’s Bittersweet “Icarus”

Deriving their name from Gengar, one of the original Pokemon, the acclaimed London-based indie act Gengahr — Felix Bushe, John Victor, Hugh Schulte and Danny Ward — can trace their origins to when its members met at the Stoke Newington School. Their debut single “Fill My Gums With Blood” caught the attention of BBC Radio 1‘s Huw Stephens — and building upon a rapidly growing profile, the band wound up playing at the BBC Introducing Stage at 2014’s Glastonbury Festival.

Since then the band has released two critically applauded albums — 2015’s debut effort A Dream Outside and 2018’s Where Wildness Grows. Sanctuary, Gengahr’s highly-anticipated Jack Steadman-produced third album is slated for a Friday release through Liberator Music. Reportedly, the album finds the band ambitiously pushing their sound in a decidedly pop leaning director, while attempting to recapture the magic and vibe that the quartet felt while writing and recording their full-length debut. Interestingly, the album, which is largely influenced by Homer’s Odyssey, also reportedly finds the band’s primary songwriter Felix Bushe tapping into personal pain — but while throwing punches and fighting. 

Late last year, I wrote about the slinky and shimmering single “Heavenly Maybe.” Featuring  a funky, disco-like groove, “Heavenly Maybe” was imbued with a world weary ennui centered around the experience of partying as a way to distract oneself from their serious, real-life problems. “Icarus” Sanctuary’s third and latest single is a wistful, M83-like song, centered around a sinuous and propulsive bass line, a motorik-like groove, four-on-the-floor-like drumming and Bushe’s plaintive vocals. And while featuring some enormous, soaring hooks, the track is imbued with the awareness of the passing of time; that adulthood ain’t easy: it’s full of dashed dreams, compromises, disappointment and the awareness that nothing in this world works the way it should. 

““Icarus” is a song about growing up and coming to terms with the expectations of our youth. As a child we believe anything is possible but as we get older there is a crushing realisation as we begin to understand that the journey of life has its own uncontrollable trajectory.” the band explains in press notes. 

Directed by the band’s long-time visual collaborator Dave East, the recently released lyric video for “Icarus” was shot in Cape Town, South Africa and depicts a car driving down a mountain road at night, seemingly in search of another hill, another mountain to climb, another bit of road sliding by. 

Single Review by William Ruben Helms

 

NANCY is a rapidly rising, enigmatic and rather mysterious Brighton, UK-based indie artist, who quickly received attention across the blogosphere from Stereogum, NME and DIY and airplay on BBC Radio 1 from personalities like Annie Mac, Huw Stephens and Jack Saunders and BBC Radio 6 personalities Iggy Pop, Lauren Laverne and Steve Lamacq.

Earlier this year, the Brighton-based artist re-emerged from a brief creative hiatus, he re-emerged with the release of the attention-grabbing single “When I’m With You (I Feel Love).” Building upon the success of that single and a growing profile in his native England, the Brighton-based artist released “Clic Clac,” a breakneck ripper — and self-described ode to anxiety —  that seemed to draw equally from ’77 era punk and glam rock. Nancy closes out 2020 with the warped and dryly ironic “The World’s About to Blow (Thank God, It’s Christmas)” Centered around heavy distorted and fuzzy power chords, layers of whirring feedback and handclap-led percussion, the Brighton-based artist’s latest single is a holiday song for the exhausted and defeated — and anyone else, who has accepted the fact that everything is fucked up. We live in a hellish dystopia and it’s only getting worse.

“No matter what side you’re on, there’s one thing we can surely all agree on: everything has gone wrong and we’re going to hell in a hand basket . . . so let’s join together and find strength in the consensus that we’re all fucked, and that it’s okay to cover your eyes and ears and just get mortal to celebrate the birth of our lord and saviour: Santa Claus,” NANCY says of his latest single.

 

 

 

Video by William Ruben Helms

New Video: London’s Genghar Releases a Dance Floor Friendly Single

Deriving their name from Gengar, one of the original Pokemon, the acclaimed London-based Gengahr, comprised of Felix Bushe, John Victor, Hugh Schulte and Danny Ward can trace their origins to when its members met at the Stoke Newington School. Their debut single “Fill My Gums With Blood” caught the attention ofBBC Radio 1’s Huw Stephens — and building upon a rapidly growing profile, the band wound up playing at the BBC Introducing Stage at 2014’s Glastonbury Festival.

Since then the band has released two critically applauded albums — 2015’s debut effort A Dream Outside and 2018’s Where Wildness Grows. The band’s highly-anticipated, third full-length album Sanctuary is slated for a January 31, 2020 release through Liberator Music. Produced by the band’s old friend, Bombay Bicycle Club’s Jack Steadman, the album reportedly finds the band ambitiously pushing their sound in a decidedly pop leaning direction while recapturing the magic and vibe the quartet felt while writing and recording their debut effort. Influenced by Homer’s Odyssey, the album’s material finds the band’s primary songwriter Felix Bushe tapping into personal pain — but while coming out throwing punches and fighting.

Interestingly, the album’s latest single “Heavenly Maybe” is a slinky and shimmering pop song centered around Nile Rodgers-like guitar, a sinuous bass line, a funky, disco-like groove, four-on-the-floor drumming, Bushe’s achingly plaintive vocals and an infectious radio friendly hook. And while being a slickly produced club banger, the song is imbued with a world weary ennui, as Bushe’s narrator details the experience of partying as a way of distracting him from his serious, real life problems. 

Directed by David East, the video follows a lonely man who heads out to a club to catch a band and to dance his problems away — but it seems only temporary. “‘Heavenly Maybe’ is the second part of a two-part video we made with David East in Berlin earlier this year. Across the two, we wanted to create something which captured the thematic essence of the album as a whole whilst allowing each song its own fitting backdrop. The song itself is essentially about going out and trying to forget all of your troubles, and how ultimately problematic that is as a form of release.” 

Single Review by William Ruben Helms

Youth Sector is a rapidly rising Brighton-based art rock act, comprised of Nick Tompkins (guitar, vocals), Josh Doyle (bass), Brad Moore (guitar), Harvey Dent (synth) and Karl Tomlin (drums) that has received critical praise from a number of British press outlets, including DIY Magazine, The Line of Best Fit, Dork Magazine, Gigwise and So Young Magazine, and airplay from BBC Radio 1 personalities Huw Stephens and Abbie McCarthy, as well as BBC 6 Music‘s Tom Robinson.

Building upon the growing buzz surrounding them, the up-and-coming British indie quintet’s latest single, the Theo Verney-produced “Tonight” continues a run of decidedly 80s New Wave-inspired tracks, complete shimmering synth arpeggios and rousingly anthemic hooks — but with a more introspective and somber tone. And while reportedly drawing a bit from early New Order, the track manages to equally recall The Cars but with a punk rock sneer.

“This song aims to shed light on the contagious quality of apathy in society, and how we favour small distractions in order to avoid confronting some of our toughest challenges,” the band’s Nick Tompkins explains in press notes. ” We’re seeing this constantly in the way the world deals with the climate crisis, where it only seems to be an urgent issue to those willing to make sacrifices while others are happy living in denial.”

Look for new material from the band in 2020.

 

 

 

 

 

 

 

Single Review by William Ruben Helms

 

Over the past 18 months or so, the rapidly rising, enigmatic and mysterious Brighton, UK-based indie artist Nancy has received attention across the blogosphere from the likes of Stereogum, NME and DIY and airplay on BBC Radio 1 from personalities like Annie Mac, Huw Stephens and Jack Saunders and BBC Radio 6 personalities Iggy Pop, Lauren Laverne and Steve Lamacq.

Earlier this year, the rising Brighton-based artist re-emerged with the release of attention-grabbing single “When I’m With You (I Feel Love).” Building upon a growing profile in his native England, Nancy’s latest single is a the scuzzy power chord stomper “Clic Clac.” Clocking in at 107 seconds and centered around distorted power chords, rapid fire drumming, distorted vocals and a mosh pit friendly hook, the track finds Nancy seemingly drawing from ’77 era punk and glam rock simultaneously. “‘Clic Clac’ is an ode to anxiety, it is much quicker and shorter than anything I’ve written, it’s a head-rush,” the rising Brighton-based artist explains in press notes. “The soundtrack to my ‘quarter life crisis’…or maybe I should just call it a crisis at this point. You’re going to need to strap seatbelts to your ears, cause I’m about to take them for the ride of their life”.

 

 

 

Single Review by William Ruben Helms

Liam Brown is a rapidly rising British singer/songwriter, multi-instrumentalist, producer and electro pop artist, who has been making waves across the blogosphere and elsewhere with his solo recording project pizzagirl.  With the release of last year’s An Extended Play EP, Brown was championed by Huw Stephens, Annie Mac and Lauren Laverne, and received praise from DIY, Highsnobiety, Wonderland, The Line of Best Fit and others for an 80s synth pop inspired sound.

Building upon a growing profile, the release of his sophomore EP, season 2 further cemented Brown’s reputation for crafting swooning and shimmering synth pop — but this year may be Brown’s breakthrough year: his highly anticipated full-length debut first timer is slated for release later this year through through Heist or Hit Records, the label home of the Her’s, Baywaves and Honey Moon among others.

Earlier this year, I wrote about first timer‘s second single “ball’s gonna keep on rollin,”a hook-driven synth pop bop with shimmering synths, explosive blasts of horns, dramatic drum rolls and Brown’s pop star vocals. The album’s latest single “yesterday” is a slow-burning  ballad-ice track centered around shimmering keys, boom bap-like beats,  and Brown’s plaintive vocals. Arguably, the album’s most melancholy and wistful track, “yesterday” touches upon the rapid passing of time, and the lingering ghosts of the past — particularly those of romantic relationships and lovers. And while achingly sad, the track possesses an underlying sense of hope.

Video by William Ruben Helms

New Video: JOVM Mainstay pizzagirl Releases a Feverish 80s Movie-Inspired Visual for “ball’s gonna keep on rollin”

Over the past year, Liam Brown, a rapidly rising singer/songwriter, multi-instrumentalist, producer and electro pop artist, best known as pizzagirl became one of this site’s many mainstay artists. With the release of last year’s An Extended Play EP, Brown was championed by Huw Stephens, Annie Mac and Lauren Laverne, and received praise from DIY, Highsnobiety, Wonderland, The Line of Best Fit and others for an 80s synth pop inspired sound. 

Building upon a growing profile, the release of his sophomore EP, season 2 further cemented Brown’s reputation for crafting swooning and shimmering synth pop. This year may be the biggest year of the JOVM mainstay’s career to date, as his highly-anticipated, full-length debut first timer is slated for an October 11, 2019 release through Heist or Hit Records, the label home of the Her’s, Baywaves and Honey Moon among others.

first timer‘s second and latest single “ball’s gonna keep on rollin” is a hook-driven, 80s synth pop bop with shimmering synths, explosive blasts of horns, dramatic drum rolls and Brown’s pop star vocals. And while sounding as though it could have been part of the soundtrack of Stranger Things, the track details the journey of a showbiz wannabe — from wide-eyed, hungry and humble origins to buzz-worthy artist to superstar to broke, washed up and bitter former star. In many ways, the success that the song’s protagonist desperately wanted to attain was his worst nightmare.“It’s a Twilight Zone-type of tale of hunting for the big ‘success’ whatever that may be,” Brown explains in press notes. “Anyways, just remember that if the grind is getting you down, that ball’s gonna keep on rollin.”

Directed by Tom Chetwode-Barton, the recently released, feverish video for “ball’s gonna keep on rollin” is set at a bowling alley and features an epic battle between rivals and an incredibly awkward and self-aware performance before we see that the entire visual is a chloroform induced dream. “The sequel to my first timer anthology series takes place in the smoky lanes of that bowling alley you used to go to years ago!” Brown says in press notes. “A made for TV, Rocky-esque sports battle of the millennium, starring corruption, redemption, Denise and introducing Pizzagirl like you’ve never seen her before! See you in there x!”

The video’s director Tom Chetwode-Barton adds “For this video Pizzagirl had loads of really strong references ranging from The Big Lebowski to Twin Peaks, so we took this and really ran with it – we wanted to create something camp, psychedelic and sort of nightmarish using tropes from all our favourite 80’s films, with a bit of slapstick thrown in for good measure.”

Single Review by William Ruben Helms

Over the last few months of last year, Liam Brown, an up-and-coming songwriter, multi-instrumentalist, producer and electro pop artist, best known as pizzagirl quickly became a mainstay on this site. And as you may recall, with the release of last year’s An Extended Play EP, Brown was championed by Huw Stephens, Annie Mac and Lauren Laverne, and received praise from DIY, Highsnobiety, Wonderland, The Line of Best Fit and others for an 80s synth pop inspired sound. Brown also opened for the acclaimed — and all too tragic — British indie act Her’s, during one of their last UK tours.

Building upon a growing profile, the release of his sophomore EP, season 2 further cemented Brown’s reputation for crafting swooningly heartfelt, shimmering synth pop with a decidedly anachronistic sound and feel. But 2019 may be the JOVM mainstay’s biggest year to date, as his highly-anticipated full-length debut, first timer is slated for an October 11, 2019 release through Heist or Hit Records, the label home of the aforementioned Her’s, Baywaves and Honey Moon among others.

first timer‘s second and latest single “ball’s gonna keep on rollin” is a hook-driven, 80s synth pop bop with shimmering synths, explosive blasts of horns, dramatic drum rolls and Brown’s pop star vocals — and while sounding as though it could be part of the soundtrack of Stranger Things, the track details the journey of a showbiz wannabe — from wide-eyed, hungry and humble origins to buzz-worthy artist to superstar to broke, washed up and bitter former star. In many ways, the success that the song’s protagonist desperately wanted to attain was his worst nightmare.

“It’s a Twilight Zone-type of tale of hunting for the big ‘success’ whatever that may be,” Brown explains in press notes. “Anyways, just remember that if the grind is getting you down, that ball’s gonna keep on rollin.”

 

 

 

 

 

Video by William Ruben Helms

New Video: Rising British Singer/Songwriter and Guitarist Lauran Hibberd Releases a Satirical Video for Grunge Rock-Inspired “Hootchie”

Lauran Hibberd is a rising Isle of Wight-born and-based singer/songwriter and guitarist, whose witty off-kilter lyricism has welcomed comparisons to the likes of Courtney Barnett and Phoebe Bridgers. And over the past year or so, Hibberd has received a growing national profile across the UK as a result of airplay on the BBC Radio 1 programs of Annie Mac, Huw Stephens and Jack Saunders, and praise across the blogosphere and elsewhere from the likes of The Line of Best Fit, The 405, Clash Magazine and Gigwise. 

Earlier this year, the Isle of Wight-born and-based singer/songwriter and guitarist tour the UK and EU with acclaimed indie act Hippo Campus — and adding to a big 2019 for the rising artist, she earned a slot on the BBC Introducing stage at this year’s Glastonbury Festival.  

Fresh off the heels of all of this big news, Hibberd’s latest single, “Hoochie” is a 90s alt-rock/grunge rock-inspired track centered around the rising British singer/songwriter and guitarist’s ironic delivery, rousingly anthemic hooks, fuzzy and jangling power chords and forceful drumming, Now, we’re all familiar with what the slang term actually means but what makes the song hilarious is that it finds Hibberd laughingly taking the piss out of the term. 

The recently released video emphasizes the song’s theme by satirizing phone sex line TV commercials, as we see Hibberd play very specific and very bland fantasy roles — the high school cheerleader, the girl with daddy issues, the dominatrix and so on. At one point her backing band joins her. “Hoochie is a 90’s slang term for a bit of a you know what,” Hibberd says of the video. “I wanted to embrace that in the only way I knew how. No fruit or vegetables were harmed in the making of this. Why don’t you text/ call and see what happens? Filmed by Skinny Mammoth in a dodgy garage on the Isle of Wight. Say what you will”.

Single Review by William Ruben Helms

New Audio: Introducing the Synth-Led Funk of Sydney’s Winston Surfshirt

With the release of their full-length debut Sponge Cake, which featured their recently gold-certified debut single “Be About You,” the Sydney, Australia-based sextet Winston Surfshirt was championed by Beats 1 Radio host Zane Lowe, KRCW’s Jason Bentley, BBC Radio 1’s Huw Stephens and Phil Taggart, BBC Radio 6’s Lauren Laverne and Elton John, thanks in part to a Australian sextet’s unique and slickly produced blend of synth funk, soul and hip-hop. Adding to a growing profile, Sponge Cake was named a Triple J feature album. 

Building upon a growing national and international profile, the up-and-coming Sydney-based act end 2018 with a new track, the chilled out yet swaggering funky synth-led “For The Record,” which pairs a sleek hip hop-tinged production of thumping beats, arpeggiated synths, crooning horns and neo-soul like vocals. Sonically, the song brings a number of different artists — Thundercat, Timbaland and Dam-Funk immediately come to mind. “‘For The Record’ is a song written for anyone from the perspective of their loved ones, family or friends,” the members of the band explain in press notes. “When you’re feeling down there’s always people who love you and would do anything to make you feel better and be there when you’re in a bad headspace.”

Single Review by William Ruben Helms

Liam Brown, an up-and-coming, Liverpool, UK-based singer/songwriter, multi-instrumentalist, producer and electro pop artist, best known as pizzagirl has become one of this site’s latest mainstays over the couple of months. Now, as you may recall, with the release of the An Extended Play EP earlier this year, Brown was quickly championed by Huw Stephens, Annie Mac and Lauren Laverne, and received praise from DIY, Highsnobiety, Wonderland, The Line of Best Fit and others for an 80s synth pop inspired sound. And adding to a growing profile, Brown opened for acclaimed British act Her’s during their most recent UK tour.

With the release of singles like “highschool,” “gymnasium,” “body part,” off Brown’s soon-to-be released sophomore pizzagirl EP season 2, the Liverpool-based artist further cements a growing national and international reputation for crafting swooningly heartfelt, shimmering synth pop that draws from several decades simultaneously, giving it a decidedly anachronistic sound and feel. “blossom at my feet, flower,” season 2‘s latest single is a classic 80s-inspired power ballad, centered around thumping beats, shimmering synths, chiming guitars, and an anthemic hook. Unsurprisingly, Brown’s latest continues a run of cinematic singles — but unlike its predecessors, it’s the most prom-like, evoking teenaged hopes, desires and dreams with a novelistic detail to psychology and the psychological state of his narrators.

Single Review by William Ruben Helms

Over the past couple of months, I’ve written a bit about Liam Brown, an up-and-coming Liverpool, UK-based singer/songwriter, multi-instrumentalist, producer and electro pop artist, best known as Pizzagirl. Now, as you may recall, with the release of his debut EP An Extended Play earlier this year, Brown was quickly championed by Huw Stephens, Annie Mac and Lauren Laverne, and received praise from DIY, Highsnobiety, Wonderland, The Line of Best Fit and others for an 80s synth pop inspired sound. And adding to a growing profile, Brown opened for acclaimed British act Her’s during their most recent UK tour.

Building upon a growing profile and growing buzz, Brown’s sophomore Pizzagirl EP season 2 is slated for a November 2 release, and from the EP’s first two singles “highschool” and “gymnasium,”  Brown will further cement a reputation for crafting swooningly heartfelt, shimmering synth pop that draws from several decades simultaneously; in fact, both singles brought the likes of Washed Out, St. Lucia and Tears for Fears to mind. “body part,” the EP’s latest single while clearly bearing an uncanny resemblance to its predecessor, the song finds Brown successfully walking a difficult tightrope of an oversized, larger-than-life cinematic feel with an emotional intimacy that continues to evoke the very  urgent emotions and thoughts of being a teenager in love.