Tag: Single Review

Single Review by William Ruben Helms

New Audio: Club 8 Shares Breakneck, Smiths-like “None Of This Will Matter When You’re Dead”

Last year, Stockhom-based JOVM mainstays Club 8 — Karolina Komstedt (vocals) and electronic music producer, artist and Labrador Records founder and label boss Johan Angergård — released their 11th album, A Year With Club 8, which featured the Joy Division/New Order-meets-The Raveonettes-like “Something’s Wrong With My Head,” a woozily blissful and escapist song that continued a run of material dabbling in 80s New Wave nostalgia. 

The Swedish duo began the year with “ooo,” which continued where A Year With Club 8 left off — breezy and escapist, New Wave-inspired pop featuring shimmering guitars and driving grooves paired with ethereal yet expressive vocals.

Clocking in at 83 seconds, the duo’s second and latest single of the year “None of This Will Matter If You’re Dead” is a breakneck bit of Smiths-inspired guitar pop, anchored around shimmering guitars, a motorik groove, big catchy hook and choruses paired with Komstedt’s ethereal delivery expressing swooning heartbreak and defiance simultaneously.

Single Review by William Ruben Helms

New Audio: The Knocks and Dragonette Shares Slick, 80s Synth-Inspired “Revelation”

New York-based electronic music duo The Knocks — James Patterson and Ben Ruttner — are a prolific, Grammy-nominated, multi-platinum selling electronic dance music production and artist duo known for crafting a carefree and fun, deeply New York-inspired sound that draws from disco, house, hip-hop, soul. funk, indie and pop.

Their three full-length albums. five EPs and multiple smash hit singles have amassed over 2.5 billion streams globally. Adding to a global profile, the duo have played DJ sets and live sets at venues, clubs and festivals globally, while making a run of the domestic, late night TV circuit with performances on The Late Show with Stephen Colbert, The Tonight Starring Jimmy Fallon, Jimmy Kimmel Live!, and Late Night with Seth Meyers. Adding to a rising global platform, the New York-based duo have collaborated with an eclectic array of artists across the musical spectrum including Foster The People, MGMT, MUNA, Cam’ron, Wyclef, Method Man, Purple Disco Machine, ODESZA, JOVM mainstays SOFI TUKKER and pop superstars Billie Eilish, Carly Rare Jepsen and Charli XCX.

Martina Sorbara, is a Juno Award-winning, Toronto-based singer/songwriter and pop artist, best known as Dragonette has managed to live multiple musical lifetimes over the past 15 years. A highly sought-after songwriter, Sorbara has scored numerous global hits, including “Pick Up the Phone,” “Let It Go,” and the chart-topping “Hello” with Martin Solveig.

Sorbara has collaborated with some of the world’s biggest DJs, including Basement Jaxx, Kaskade and Galantis while releasing four critically acclaimed albums, including 2009’s Juno Award-nominated Fixin to Thrill and 2012’s Bodyparts. Along the way, the Canadian artist has headlined shows across the globe. Adding to a global profile, she has opened for Duran Duran, New Order, Ke$sha and Miike Snow while playing at some of the biggest festivals across the global scene, including Coachella, Electric Daisy Carnival, Glastonbury and Lollapalooza.

A longtime priority songwriter with Sony/ATV Publishing, Sorbara has regularly worked with acts on UMG, Warner Music, Syco and Spinnin.‘ Her musically diverse credits include songs for Keith Urban, Cyndi Lauper, Pretty Sister, Mike Mago and Carly Rae Jepsen.

The Knocks and Dragonette first collaborated on 2019’s Grammy-nominated single “Slow Song.” They continue their successful collaboration with “Revelation,” a slick, hook-driven, 80s synth pop-inspired bop centered around glistening and arpeggio synths that brings Stevie Nicks‘ “Stand Back” to mind paired with Sorbara’s yearning, pop starlet delivery. The song is an effortless club and lounge friendly bop.

The accompanying visualizer s set in a 1980s corporate lineal space at the fictional company Revelation Technologies and features RuPaul’s Drag Race winner Aquaria, the muse behind the song.

Single Review by William Ruben Helms

New Audio: Brooklyn’s Bedridden Shares Dinosaur Jr.-like “Etch”

Chicago-born, Brooklyn-based singer/songwriter and musician Jack Riley can trace the origins of his music career to when he was five and making music on a thrift-store emblazoned with Kurt Cobain‘s name. Riley moved to New […]

Single Review by William Ruben Helms

New Audio: JOVM Mainstays Psymon Spine Share Two Slick Remixes from “Heady Remix Collector”

Brooklyn-based JOVM mainstays Psymon Spine released their third album, Head Body Connector last year. The album is a gritty, punchy, guitar-forward studio album from a band that’s long been obsessed with production. And perhaps more than its predecessors, their third album is explicitly informed and inspired by the band’s cathartic live show. “It’s more unhinged than anything we’ve made before,” Psymon Spine’s Noah Prebish says. “Throughout the writing process, we were always asking ourselves how we could make it really fun to play live.”  

Ironically, the album, though ready-made to be performed, was mostly written in 2020 during the height of the COVID-19 pandemic. The band split their time between various home studios and friends’ back porches in Montauk, The Catskills, Boston and Brooklyn. It was fall and the crisp autumn air, and political uncertainty and disquietude looming in the background lended itself to an undeniable longing for companionship. “It felt like we had collectively jumped from one timeline to another, more bizarre one,” Prebish says. 

The central theme of time being fractured, chopped and screwed is integral to the album’s material and its album art, which was designed by New York-based artist Bucky Boudreau and appears in the form of alternative measurements of passing seconds, minutes, days, lifetimes, tally marks on a chalkboard and infinity signs made of camp bracelets on a cracked egg.“Head Body Connector is our response to a world even more chaotic than usual,” says Peter Spears, “and an exploration of the little joys, anxieties, and absurdities that world has to offer.” While being an ode to the dissonance of temporality in our current moment, it’s also an elastic tribute to friendship and harmony in the face of that dissonance. 

In the lead up to the album’s release, I wrote about:

“Boys,” a track that begins with a glistening New Wave-meets-post punk introduction before quickly morphing into a funky, synth-driven both with slashing guitars. The two seemingly disparate sections are held together with Sabine Holler’s dreamy delivery. But just under the infectious, danceable surface, is an introspective song that reveals a subtle sense of unease. 

The track was written after the band’s Sabine Holler relocated to Berlin, but she still lends her voice to the song. “By nature every Psymon Spine song must be a little cheeky to bypass our own self-criticism, but in reality ‘Boys’ is just a very earnest song about friendship,” the band notes. “Early on in the pandemic Sabine moved back to Germany and we weren’t sure what was going to happen, either to us as a unit or to the entire world. We went to Peter’s childhood home in Boston for a few days and fleshed out a demo that Michael had started a couple weeks earlier. We sent it to Sabine who almost immediately replied with the same vocal take you hear on the song today.” 

“Wizard Acid,” a woozy bit of disco funk built around a punchy bass line, glistening synth arpeggios and thumping beats paired with lyrics about coming apart at the seams — both literally and metaphorically. Consumed with cabin fever, the song’s narrator is slowly losing their mind. 

The band told the folks at Flood Magazine that the song is “part allegory, part nonsense, encapsulating elements of cabin fever, dread and humor. We melded one of Michael’s early demos with one of Peter’s, creating one unholy coupling which eventually took the form of a shapeshifting disco jam. It sat instrumental for a couple months until Peter sent over some lyrics detailing a narrator slowly consumed by their sentient house, or perhaps losing their mind (maybe both?).” 

The JOVM mainstays will be releasing Heady Remix Collector, a bold reimagining of the material off last year’s Head Body Connector. Slated for an April 4, 2025 release through their longtime label home Northern Spy, the album features remixes by some of their favorite artists and collaborators with the album’s tracks transformed into fresh, electrifying soundscapes that are perfect for both the dance floor and deep listening.

“We’re thrilled to share our most eclectic remix album yet: Heady Remix Collector. The name says it all,” the JOVM mainstays say. We asked 8 of our favorite artists to reinterpret songs on Head Body Connector and what we got back was a glimpse into how truly weird and brilliant our friends are.

We generally take a very hands-off approach to the remixes that we commission (the exception being “Love Injection’s Antimatter Kid Remix”, which Noah played guitar on); anytime we ask someone to remix something it’s because we love their work and want them to do their thing. We send out the stems, tell them to freak it, and in a couple months we find a bunch of alien babies on our doorstep.

“For the DJs, we’ve got club bangers from Sam O.B. and GIFT, as well as balearic slow burners from Love Injection and lovetempo. MGMT and Matt FX’s mixes are psychedelic, joyous, delirious. And both This is Lorelei and Disq’s remixes are a stroll through a funhouse, complete with trick mirrors and trap doors at every turn.”

The band shared the first peak of Heady Remix Collector, a double A-side single featuring MGMT’s remix of “Boys” and GIFT’s remix of “Wizard Acid.”

The MGMT remix of “Boys” pairs a chugging motorik-like groove, buzzing and crunchy guitars and twinkling synth oscillations with Holler’s dreamy delivery to create a dreamy and euphoric house music-meets-New Wave take on the original.

The GIFT remix of “Wizard Acid” turns the song into slick and glistening Echoes-era The Rapture/DFA Records dance punk-meets-house music banger with euphoric hooks.

If I were doing a DJ set, I’d play these bangers to get people moving — and if these tracks don’t get you moving, there’s something wrong with you.

Single Review by William Ruben Helms

New Audio: Norwegian-born, Los Angeles-Based Alma Owren Shares Cinematic “Outcast”

Alma Owren is a 19 year-old Norwegian-born, Los Angeles-based singer/songwriter, multi-instrumentalist, producer and actor, whose musical work is shaped by her synesthesia. Her music combines vivid soundscapes with powerful, emotion-driven storytelling rooted with vulnerable, relatable lyrics that will deeply resonate with listeners.

The Norwegian-born, Los Angeles-based artist’s debut EP Under the Surface will be released through AWAL. The EP’s first single “Outcast,” is a gorgeous folk pop tune that pairs an arrangement of strummed acoustic guitar, bursts of cinematic strings anchored by Owren’s gorgeous and emotive delivery.

The young artist explains that the song explores themes of isolation and identity through a cinematic soundscape.

Simply put, this young artist reveals a self-assuredness and emotional depth well beyond her relative young. I fully expect that she will have a big, bright future ahead of her.

Single Review by William Ruben Helms

New Audio: Paris Duo La Punta Bianca Shares Eerily Dreamy Single

Paris-based synth pop/synthwave duo La Punta Bianca — Francesca Diprima (vocals) and Phillipe Brown (vocals, synths, drum machines) made a name for themselves in the Parisian alternative and indie scenes with their debut EP, 2019’s Demian. The EP saw the duo firmly cementing their sound: Diprima and Brown’s dreamy melodies are paired with equally dreamy synth-based soundscapes.

Initially released on cassette tape, the EP was then pressed on vinyl twice. The EP’s success in the synthwave scene enabled the duo to tour across France and the European Union.

The Parisian duo’s highly-anticipated and long-awaited full-length debut, Disquiet is slated for a March 18, 2025 release through Detriti Records. The album, which continues a run of material rooted in absurdist romanticism and Lynchian strangeness, sees the pair drawing from Angelo Badalamenti, John Barry and Leonard Cohen with songs being sometimes dancey, sometimes melodramatic. Lyrics were written and are sung in French, Italian and English throughout. All of this is paired with carefully programmed synth and drum machine-driven arrangements.

Disquiet‘s first single “Extanimal,” is a dream-like song featuring twinkling synth arpeggios, Casio synthesizer-like beats as a lush yet atmospheric bed for Diprima and Brown’s eerily uncanny boy-girl harmonies. The result is a song that reminds me quite a bit of Young Narrator from the Breakers-era Pavo Pavo — but with a nouveau vague sensibility.

Single Review by William Ruben Helms

New Audio: Gabriella Lima Shares a Quiet Storm-like Bit of Samba

São Paulo-born, Paris-based singer/songwriter Gabriella Lima relocated to Paris back in 2014. And since locating to The City of Light, Lima has been busy crafting material that pushes genre and cultural boundaries. 

Lima’s 2021 full-length debut, the nine-song Bálsamo found the Brazilian-born, French-based artist writing material that drew from soul, pop, samba, chanson and several other styles. Back in 2022, I wrote about album closing track, “Samba de l’amour,” a breezy song featuring twinkling keys, fluttering synths, strummed acoustic guitar and gently swaying samba rhythms paired with Lima’s gorgeous vocal singing bittersweet lyrics in French and Brazilian Portuguese detailing love gained and quickly lost. 

Lima’s latest single “Meu Lugar” is a Sade/Quiet Storm-like touch on samba and Bossa nova featuring an atmospheric yet percussive arrangement with strummed acoustic guitar that serves as a lush bed for the Brazilian-French artist’s achingly tender delivery.

She explains that the song’s lyrics talk about a deep emotional delivery and the transformation of an intense and true relationship.

Single Review by William Ruben Helms

New Audio: Big Fish Shares Brooding and Folksy Industrial Hymn “Vad blir kvar (What Will Remain)”

Back in 1988, four Uppsala, Sweden-based teens decided to start a band after returning from a trip to West Berlin. Heavily inspired by the avant garde scene there, Big Fish‘s original lineup featured vocals, upright bass, samplers and scrap metal percussion. With the addition of a guitarist in 1990, the newly-minted quintet became part of an emerging local scene that would subsequently birth acts like Watain,Misery Loves Co., Lost Souls, Malaise and Defleshed. 

Throughout the better part of the 1990s, the Swedish outfit recorded three studio albums, including 1996’s Micheal Blair-produced Andar i Halsen, which they supported with frequently touring across Scandinavia, playing over 500 shows. 

The band broke up in 1997 after its members left Uppsala for work and studies. But their fanbase’s clamoring demand for hearing their material live resulted in the Swedish band playing a handful of reunion shows in 2016. 

2022’s surprise fourth album, Kalla döda drömmar was released to critical praise and was supported by extensive touring across their native Sweden. The band spent the next year writing and recording material, including six planned singles which will appear on the band’s forthcoming fifth album, Frya liter stoft (Four liters of dust) slated for release in May.

Late last year, I wrote about “SNÖ (Snow),” a brutally forceful and thrashing ripper, anchored around down-tuned and rumbling bass, fuzzy power chords. thunderous syncopated drumming and rousingly anthemic and enormous hooks and choruses paired with urgent and punchily delivered vocals singing lyrics in Swedish that describe a return from a bleak, metaphorical winter of isolation — or perhaps intoxication — and discovering that nothing is left. But at its core, the song captures uneasy, brutal nature of our bleak, mad, mad, mad existence.

Album single “Vad blir kvar (What Will Remain) ” is a brooding yet folksy industrial hymn that evokes bleak, dark and harsh winters; trudging through snow, ice and slush to some equally harsh, soul-crushing industrial workplace to make widgets, ball bearings and ammunition; of recognizing that there are small moments of breathtaking beauty and humanity that can be a respite in a brutal world.

Single Review by William Ruben Helms

New Audio: Dead Vixens Share Arena Rock Friendly “Corroded Love”

Dead Vixens — Lucius Man (guitar), Sarah Weiss (drums), Tiffany Rivera (vocals) and Bruce Macchione (bass) — formed back in 2021. Initially formed as a trio featuring Man, Weiss and Rivera, who originally joined as the bassist, Rivera assumed vocal duties as a result of her background as a classically trained singer after about a year of writing material. In 2022, the band met Macchione and the band’s sound and thematic concerns evolved into the politically-driven, social punk band with distorted guitars, hard-hitting rhythms and powerhouse vocals they’re known for now.

The band’s debut EP DANGER! RESET! serves as an introduction to the band. Three of the EP’s songs were written by the band’s founding trio and represent the band’s early sound before Macchione joined the band, and that portion of the EP are much more prog rock influenced. Macchione brought in more punk-leaning influences which will reportedly be reflected in future releases, including their forthcoming full-length debut. But in the meantime, DANGER! RESET!‘s latest single “Corroded Love” is a swaggering, arena rock ripper that recalls Foo Fighters, Tigercub and Amyl and The Sniffers, among a lengthy list of others, delivered with an effortless self-assuredness.

Single Review by William Ruben Helms

New Audio: TONNUP Shares 90s EDM-Inspired, Club Friendly “SpyMaster”

TONNUP is a mysterious and emerging American electronic music producer and artist. Late last year, they shared “I’m So Into You,” a club banger anchored around glistening synth arpeggios, skittering beats, tweeter and woofer rattling low […]

Single Review by William Ruben Helms

New Audio: Glasgow’s Theodosia’s Revenge Shares a Bruising Ripper

Theodosia’s Revenge is an emerging, Glasgow, Scotland, UK-based metal outfit. Their latest single “Walking with Fire” is a bruising and primal ripper with scorching riffage, raise your beer high-in-the-sky hooks and choruses and thunderous drumming that recalls early Metallica and the RidingEasy Records roster.

Single Review by William Ruben Helms

New Audio: Trentemøller’s Hard-hitting Remix of A Place to Bury Strangers’ “Fear of Transformation”

Late last year, New York-based JOVM mainstays A Place to Bury Strangers — currently Oliver Ackermann (vocals, guitar), John Fedowitz (bass) and Sandra Fedowitz (drums) — released their seventh album Synthesizer through Dedstrange. 

While Synthesizer is the album’s title, it’s also a physical entity, a synthesizer specifically made for the album — and a synthesizer that you too, can own (in part), if you buy the record on vinyl. The album’s cover art doubles as a circuit board and functional synth for curious and enterprising fans. “It’s pretty messed up, chaotic. But it feels really human,” the band’s Oliver Ackermann says. 

In an era of making music where so little is DIY and so much is left up to AI, never setting foot in a practice room or a home studio, making something that feels deliberately chaotic, messy, and human, is entirely the point. The album celebrates sounds that are spontaneous and natural, the kind of music that can only come from collaboration and community. 

The writing sessions for Synthesizer started in the band’s Queens studio, shortly after the release of 2022’s See Through You. The new lineup which featured Ackermann and his friends John and Sandra Fedowitz was especially inspiring for Ackermann. “It felt like a fresh new thing,” he says. “I wanted to write songs everyone was excited about playing.” 

The album captures the band at a place of reinvention, where they take a carefully honed sound and approach and crack it wide open to gut its then reimagine it. And of course, to ever so slightly reinvent one’s sound, one must also built a new instrument — the synthesizer at the core of the album’s overall sound. 

Synthesizer may arguably be one of the band’s most live-sounding albums to date, accurately capturing the rawness and explosiveness of the band in a live setting, which is a fitting for a band that is best in a live setting, where the material takes on a new energy in the presence of a crowd. “We’re artists,” Ackermann says, “Going to shows and bringing that imperfect and beautiful DIY ethos is important.” 

Album single “Fear Of Transformation” is a snarling and scuzzy New Wave/goth punk synth-driven ripper featuring layers of oscillating synths, a relentless motorik groove, explosive bursts of feedback paired with the band’s long-held penchant for rousingly anthemic, mosh pit friendly hooks and Ackermann’s punchy delivery. 

Thematically, the track focuses and delves into the struggle of overcoming internal barriers. As the band’s frontman Oliver Ackermann explains, “Sometimes fear builds up and pins you in a cage. A conversation occurs in my head where I have to convince myself to just fucking do something to break out of it.” The song embodies that internal dialogue, capturing the battle between the compulsion to avoid fear and the push to confront it. And as a result, the song is a raw, uneasy and intense conversation with the devil within.

Acclaimed Danish producer and multi-instrumentalist Trentemøller recently gave “Fear of Transformation,” the remix treatment. The Trentemøller remix adds harder, big beat era-like beats, which manages to add an even darker, industrial electronica-like feel to song. The thematic conversation with the devil at the core of the song has much higher stakes: Damnation and destruction or salvation, which will you choose?

Single Review by William Ruben Helms

New Audio: Cigarettes for Breakfast Shares Churning and Anthemic “Glue”

Cigarettes for Breakfast is the bedroom project of Philadelphia-based singer/songwriter and musician Matt Whiteford and an ever-changing cast of bandmembers and collaborators. The project has made a name for itself on the DIY and shoegaze scenes through crating lush soundscapes and raw, emotive, fuzzed-out performances that capture the essence of classic sheogaze and dream pop — but with their own, unique take and sensibility.

The Philadelphia-based project has shared stages with acts like Slow Crush, The Asteroid No. 4, Mahogany and a growing list of others. And building upon a growing profile, their full-length debut, 2023’s Join the Circus, an effort that showcased their ability to take the listener on a journey while exploring themes of love, loss and self-discovery garnered a comparison to The Jesus and Mary Chain from Rolling Stone.

Single Review by William Ruben Helms

New Audio: Glixen Shares Churning and Enveloping “all tied up”

Phoenix-based shoegazers Glixen — Aislinn Ritchie (vocals), Esteban Santana (guitar), Keire Johnson (drums) and Sonia Garcia (bass) — was founded back in 2020 by the band’s Aislinn Ritchie, who then enlisted Santana, Johnson, and Garcia to complete the band’s lineup. Emerging from a scene of local DIY artists, the quartet’s unique sound and look set them apart from their counterparts and led to tours across the US alongside bands like Narrow Head, Cowgirl Clue, MSPaint, Hotline TNT, and They’re Gutting A Body of Water. 

Glixen’s debut EP She Only Said was released in the summer of 2023 through Julia’s War Recordings. The EP saw the band adding themselves to a list of contemporary shoegaze outfits actively pushing the genre in a new direction — through a approach that incorporates ethereal pop vocals and shimmering guitars that are meant to guide you toward the feeling of true self-expression. 

Building upon a growing profile, the Phoenix-based shoegazers’ highly-anticiapted Sonny DiPerri-produced sophomore EP quiet pleasures is slated for a February 21, 2025 release digitally through AWAL and on vinyl through Wichita Recordings. The EP will feature previously release singles “sick silent” and three singles I wrote about on this site:

  • “foreversoon,” a woozy bit of shoegaze built around fuzzy and melodic power chord-driven guitars, thunderous drumming and Ritchie’s tender and ethereal falsetto paired with enormous hooks and choruses. “foreverspoon” sees the Phoenix-based outfit taking up a much heavier sound that seemingly channels Souvlaki-era Slowdive, Nowhere-era RIDE, and contemporaries like JOVM mainstays Blushing. “‘foreversoon’ represents blissful moments of new love and intimacy,” Glixen’s Aislinn Ritchie explains. “The song harnesses melancholy chords, layered with fuzzy red melodies and gliding guitars that pull you in deeper. I wanted my lyrics to feel like a conversation that expresses my infatuation and sensuality. Time is relentless and memories are fleeting, this song encapsulates those emotions forever.”

  • “lust” is a woozy track that sees the band continuing to explore a heavier sound — but this time channeling 90s grunge and nu-metal with fuzz and distorted pedaled power chords, down-tuned bass and blissed out rhythms. Ritchie’s yearning vocal ethereally floating over the brooding and muscular arrangement. “lust” is about the yearning and wanting of somebody and the rush that that person makes you feel,” Glixen’s Aislinn Ritchie explains. “It is a feeling that is shallow, yet it feels intense and passionate but only for a moment. We wanted to take the direction of our sound to a heavier place. I wanted the weight of the sound to crush me.”

  • “lick the star,” which begins with an eerily atmospheric sound bath-inspired introduction that sounds a bit like Cocteau Twins and Slowdive, before quickly turning into a wall of sound of fuzzy and swirling guitar textures, thunderous drumming paired with Ritchie’s ethereal yet plaintive delivery before ending with bursts of feedback. 

Now, if you’ve been frequenting this site, you might recall that last year was a busy year for the rising Phoenix-based shoegazers: They played SXSW and Treefort Festval. They’ve also had opening slots for acts like Interpol, DIIV, Nothing., Tanukichan, Turnover, Glare, Glitterer, Softcult and Fish Narc among others. 

Building upon the rising momentum surrounding the band, 2025 looks to potentially be a breakthrough year: Along with the forthcoming release of their sophomore EP, the band will be embarking on their first North American headlining tour throughout February and March with openers Suzy Clue and she’s green. The tour will include a March 15, 2024 stop at Baby’s All Right and their Coachella debut in April. Check out the rest of the tour dates below.

The newest JOVM mainstays’ latest single “all tied up” is features churning and stormy guitars, pummeling drumming around Ritchie’s pleading delivery. “all tied up” showcases the band’s uncanny knack for crafting deeply earnest material with rousingly anthemic hooks and chorus that sounds indebted to classic shoegaze — but with a subtly modern sensibility.

“‘all tied up’ is about feeling completely consumed by someone,” says Ritchie. “We definitely wanted the song to feel enveloping. There’s a subtle tension that builds throughout with a push and pull between the guitars and vocals. The song hits hard with its emotional depth, yet breathes with a playful melody.”

Single Review by William Ruben Helms

New Audio: Jett Jenkins Shares Meditative “Springsteen”

Jett Jenkins is an emerging Brooklyn-based indie pop singer/songwriter. Influenced by Suki Waterhouse, Fiona Apple, Clairo and Blondie, Jenkins’ work typically balances etheral sounds with profound themes.

The Brooklyn-based artist cites a Clairo show as inspiring her to dedicate herself to music, developing her guitar skills and getting involved in musical theater.

Her debut EP, last year’s Through My Eyes received praise for its relatable and emotionally rich lyrics. She supposed the album with a tour across Southern California that included stops in Los Angeles‘ iconic The Whisky A Go Go and Tea Leaf Green. The tour helped informed her forthcoming full-length debut Tender Love Like a Criminal, which is slated for release later this year.

Tender Love Like a Criminal‘s second and latest single “Springsteen” is a slow-burning and meditative track that reminds me of Soccer Mommy, Nat Vazer and San Mei among a lengthy list of others while anchored around Jenkins’ expressive delivery, shimmering guitars and a rousingly anthemic, sing-a-long worthy hook and chorus.

Jenkins explains that “Springsteen” is a deeply personal song that tells an emotional journey, capturing nostalgia, heartbreak and the bittersweet beauty of everyday moments. “My goal with this track was to create an intimate connection with listeners, something that stays with them long after the music ends. To make this release even more special, I’ve paired it with something unique: my own signature fragrance, “Springsteen” Eau De Parfum.

Together, the music and scent create a multisensory experience, evoking memories of growing pains and raw vulnerability. It’s a way to bring my audience into the world of “Springsteen” on a whole new level.”