Tag: singles

Single Review by William Ruben Helms

There are few artists I’ve written about as much as the ridiculously prolific, New York-based producer, DJ, remixer and longtime JOVM mainstay Rhythm Scholar. During this site’s 11+ year history, Rhythm Scholar has firmly cemented a reputation for crafting slickly produced, crowd-pleasing mashups and remixes of classic soul, funk, hip-hop, New Wave and others.

Rhythm Scholar’s remix sees him tackling Slick Rick‘s beloved 80s classic “Children’s Story.” The remix pairs Slick Rick’s cautionary tale of a young boy, who gets seduced into the street life and its inevitable and tragic ending with seemingly Issac Hayes-inspired production featuring twinkling Rhodes, dramatic strings, a psychedelic guitar solo and playful nods at Rob Base and DJ Easy Rock’s “It Takes Two,” LL Cool J and several others. The end result is a gritty, 70s true crime story air — as though Slick Rick had spent his time watching The French Connection, Serpico and others.

Single Review by William Ruben Helms

Texan-born and-raised singer/songwriter and multi-instrumentalist James Cole Burnett can trace the origins of his own music career to when he was 14: he had aspirations to play in his older brother Chase Burnett’s band. So, he began taking piano lessons and started writing songs. Soon after, he began playing shows with his brother and a drummer, Matthew O’Connor.

James played in the trio and also fronted Dallas-based outfit Mankind Forever into his early 20s. When he turned 22, Burnett relocated to Los Angeles to join his brother and O’Conor in UNCLES. UNCLES played for about a year-and-a-half before breaking up just before they were about to record an album with Sean O’Brien, Burnett took up the opportunity to work with O’Brien on there singles as a solo artist, before returning to Texas. Upon his return to Texas, Burnett recored his debut album as GOD OF LOVE, Casino Dream with Will Hooper, which the Texan-born and-based artist supported with a string of local shows.

Just before the onset of the COVID-19 pandemic, Burnett worked with Alex Bhore, who recorded and produced the Texan’s second GOD OF LOVE album. Much like countless other albums, the pandemic forced the delay of the album’s release for over a year. Burnett’s sophomore GOD OF LOVE album Do You Worst is slated for a December 3, 2021 release through Red Zeppelin Records.

“Green Eyes Black Night” Do Your Worst‘s third and latest single is a noir-ish strut centered around buzzing guitars, thumping boom bap-like drumming, a propulsive bass line and whirring electronics paired — and serves as a tense and uneasy bed for Burnett’s crooning. The song manages to evoke a desperate, gnawing loneliness, of love and affection gone unrequited for far too long, of anxious, booze and regret-fueled nights.

Single Review by William Ruben Helms

New Audio: Neal Francis Releases the Breezy Yet Self-Aware “Problems”

Born Neal Francis O’Hara, the Livingston, NJ-born, Chicago-based singer/songwriter and pianist best known known as Neal Francis can trace the origins of his sound and approach to his childhood: he was obsessed with boogie woogie piano — and as a result, his father gifted him a dusty Dr. John album. O’Hara quickly became a piano prodigy, touring Europe with Muddy Waters‘ son and with other prominent bluesmen across the States when he was just 18. 

In 2012, Neal Francis joined the popular instrumental funk band The Heard. With Francis at the creative helm, The Heard quickly became a national touring act, sharing stages with The New Mastersounds and The Revivalists, and making stops at New Orleans Jazz Fest and Bear Creek among others. As The Heard’s profile rose, Francis sunk deeply into addiction. By 2015, he had been fired from his band, evicted from his apartment and was inching perilously close to his own destruction. “When you get close to death like that you can feel it,” Francis recalls. An alcohol-induced seizure that year led to a broken femur, dislocated arm, and, finally, the realization that he needed to get clean.

Although he identifies as not being religious, Francis took a music-ministry job at St. Peter’s UCC in 2017 at the suggestion of a friend. 

Francis’ solo debut, 2019’s Changes was released to critical acclaim with the album landing on Best-of-the-Year lists of KCRW, KEXP and The Current while BBC Radio 6hailed him as “the reincarnation of Allen Toussaint.” Adding to a breakthrough year, Francis toured with Lee Fields and The Expressions and JOVM mainstays The Black Pumas. He shared a stage with members of the legendary The Meters at New Orleans Jazz Fest. And he did a live session on KCRW’s Morning Becomes Eclectic.

Despite having breakthrough success with his career, Francis broke up with his longtime girlfriend while on tour to support Changes. When the tour ended, he returned home to Chicago and found himself with no place to stay. So, he headed off to St. Peter’s and asked if he could move into the parsonage. “I thought I’d only stay a few months but it turned into over a year, and I knew I had to do something to take advantage of this miraculous gift of a situation,” he says. 

Francis began writing new material, a series of songs that’s both strangely enchanted and painfully self-aware, inspired by Greek myths, frenzied dreams, late night drives — and a possibly haunted church. (More on that in a bit.) The end result is the Chicago-based artist’s highly-anticipated sophomore album In Plain Sight, an album that derives its title from the title of a song that wound up getting cut from the album. “It’s a song about my breakup and the circumstances that led to me living in the church, where I’m owning up to all my problems within my relationships and my sobriety,” says Francis, whose first full-length chronicles his struggles with addiction. “It felt like the right title for this record, since so much of it is about coming to the understanding that I continue to suffer because of those problems. It’s about acknowledging that and putting it out in the open in order to mitigate the suffering and try to work on it, instead of trying to hide everything.”

Continuing his ongoing collaboration with Changes producer Sergio Rios, a guitarist and engineer, who has worked with CeeLo Green and Alicia Keys, the album spotlights Francis’ restrained yet free-spirited piano playing. “From a very early age, I was playing late into the night in a very stream-of-consciousness kind of way,” he says, naming everything from ragtime to gospel soul to The Who among his formative influences. 

Recorded entirely on tape with his backing band, Kellen Boersma (guitar), Mike Starr (bass) and Collin O’Brien (drums), In Plain Sight is also fueled by Francis’ restless experimentation with a stash of analog synths lent by his friends during his early days living at the church “My sleep schedule flipped and I’d stay up all night working on songs in this very feverish way,” he says. “I just needed so badly to get completely lost in something.” 

By the end of his surreal and sometimes eerie experience of living at the church—“I’m convinced that the stairway leading to the choir loft where I used to practice is haunted,” he says—Francis had found his musicality undeniably elevated. “Because I was forced into this almost monastic existence and was alone so much of the time, I could play as often and as long as I wanted,” he says. “I ended up becoming such a better pianist, a better writer, a better reader of music.” Dedicated to a woman named Lil (the de facto leader of the St. Peter’s congregation), In Plain Sight ultimately reveals the possibility of redemption and transformation even as your world falls apart.

In the lead up to In Plain Sight‘s Friday release through ATO Records, I’ve written about “Can’t Stop The Rain,” an uplifting and shuffling boogie woogie featuring a Southern rock influenced arrangement that nods at Lynyrd Skynyrd‘s “Sweet Home Alabama,” complete with a soaring gospel-tinged chorus and a smoldering slide guitar solo from Derek Trucks. Underlying the whole affair is Francis’ unerring knack for crafting infectious hooks paired with lived-in songwriting. Of course in the case of “Can’t Stop The Rain,” the song expresses a deep, hard-won sense of gratitude, for experiencing the difficult shit and somehow surviving.

In Plain Sight‘s latest single “Problems” is trippy synthesis of 70s piano balladeer pop, AM rock, psych pop and blue-eyed soul featuring twinkling synth arpeggios, a strutting bass line, Francis’ easygoing yet plaintive falsetto, and a big book. But underneath the infectious and easygoing vibes, is a song with a narrator, who begins to realize that he ultimately is the cause and solution to his problems — and that he has the power to change his life.

Single Review by William Ruben Helms

Led by Frank Corr, the rising indie pop/dream pop act Morning Silk can trace its origins back to when Corr was studying Architecture at The Rhode Island School of Design: Initially conceived as a side project while school took up most of his time, Corr was inspired to seriously pursue music once again after listening to MGMT’s Oracular Spectacular and Congratulations. 

Most of the early material was mainly just guitar-based but the project’s sound and aesthetic gradually began to materialize when Corr linked up with Matthew Lancaster (bass, production). The ideas they started working on desperately needed drums. Robert Norris (drums) joined the project, and as a trio they began playing almost every venue across Rhode Island. Simultaneously, Corr was busy collecting gear, so they could build a studio in NYC. Immediately upon their graduation, the trio relocated to New York and landed jobs in order to finance their studio. 

Working with a number of producers including Matthew Lancaster, Eamon Ford, Robert Norris and Caroline Sans, the rising New York-based indie pop/dream pop outfit’s full-length debut is slated for release later this year. Earlier this month, I wrote about album single “Don’t Try Hard Enough.” a dreamy, hook-driven bop that sonically brought MGMT and Tame Impala to mind while being a gentle reminder that it’s never too late to change the path and course of your life.

The debut album’s third and latest single “So Fun,” which features guest spots from Sur Black and Kolezanka is a breezy pop confection centered around glistening synth arpeggios, a sinuous bass line, lysergic guitars and The debut album’s third and latest single “So Fun,” which features guest spots from Sur Back and Kolezanka is a layered yet breezy pop confection centered around glistening synth arpeggios, a sinuous bass line, plaintive, shimmering guitars. a lysergic guitar solo and falsetto vocals. The end result is a song that sonically reminds me of a slick synthesis JOVM mainstay Summer Heart, Tame Impala and Washed Out with an infectious, two-step inducing hook.

Single Review by William Ruben Helms

Turkish production duo Artz & Bugy are chief architects of their homeland’s burgeoning hip-hop scene, having built the template for Turkey’s biggest rapper Ezhel on his full-length debut, 2017’s Müptezhel. Since Müptezhel‘s release, have further established an eclectic sound and style, which reveals their ability to infuse rap production with elements of trap, reggaeton and Afrobeat.

The duo are superstars in their native Turkey. And for the duo, two important question was left hanging over their heads: “What’s left? What’s next?” Well for the Turkish production duo, it turns out that — well, a lot is left and a lot is next. “There have been a few producers handling popular albums in the Turkish rap scene, and I made one of them. It was very successful from my point of view,” explains Artz. “That success afforded us so much power, plus the capacity and the potential to dream up ideas we couldn’t even think of before. Now, we ask ourselves, ‘Why not? Why limit ourselves to home?”

With their recently released debut EP We Survive, Artz & Bugy have set out to make a global effort that illustrates and celebrates their Turkish roots while adapting their styles to create familiar ecosystems for the artists they recruited and worked with. The EP features guest spots from Jamaican dancehall artist BEAM (FKA Tyshane), Detroit‘s finest Royce da 5’9.” Ezhel, and Grammy-nominated emcee Freddie Gibbs, which should prove that the duo can craft beats for a diverse and eclectic array of artists and styles. For the duo, the EP is an introduction to the larger world and a love letter to the hip-hop they grew up idolizing — and are now shaping in their own image.

EP single “War Zone” sees the rising, Turkish production duo teaming up with the aforementioned Freddie Gibbs. Gangsta Gibbs’ self-assured, dense and intricate bars full of braggadocio and street shit is paired with a menacing and uneasy production centered around twinkling and arpeggiated key, skittering trap beats and tweeter and woofer rocking low end. Simply put, this track is fucking flames. So, when will the trio collaborate on an album or something, huh?

Working with an American superstar like Freddie Gibbs wasn’t lost on the duo. While such a momentous get was something that they were one day picturing accomplishing, it’s surreal for them to hear one of the dopest emcees in the world spitting bars over their beats. “A couple years ago we were imagining what sort of beat we would be making for Freddie Gibbs,” Bugy explains. “When we got the chance, we just jumped on it, and he killed his part too.”

Single Review by William Ruben Helms

Deriving their name from a French expression that gently mocks sappy lovers, the Paris-based indie rock duo Fleur bleu.e — Delphine and Vladimir — features two accomplished musicians, who have been performing and writing music since they were both children: Vladimir was a guitarist in French garage rock band Brats, an act that recorded and released a Yarol Popouard-produced album that was supported with touring across France with BB Brunes. Delphine began playing cello in classical orchestras before learning guitar and playing at alternative festivals across Paris with her first band Le Studio Jaune.

When the duo met in 2019, they bonded over a mutual love of The Smiths, Beach House, Françoise Hardy and Elli et Jacno among others, and a desire to craft music that was emotionally ambiguous while being fueled by their teenage myths. Seemingly influenced by dramas and nightmares, their artistic vision is to go beyond the prism of the gender binary and call upon the listener to express their fragility, celebrating one’s inner world and the beauty in imperfections.

The Parisian duo released “Horizon” to critical applause late last year. Building upon a buzz worthy profile in their native France, the Parisian duo released “STOLT 89” earlier this year, a track that brought Bloom-era Beach House to mind while being an emotionally ambiguous feminist manifesto. Both of those singles will appear on the duo’s Ben Ettter-produced full-length debut slated for release next year.

In the meantime, the forthcoming album’s third and latest single “sun” sees the members of Fluer bleu.e crafting an infectious yet beautiful song that adds elements of folk and jangle pop to their singular take on dream pop. The end result is a song that sounds like Beach House meets The Sundays. But underneath the song’s sunny instrumentation, the song is a bittersweet meditation on depression, the search for a soulmate embodied by the sun and the stifling nature of the gender binary.

Single Review by William Ruben Helms

Leeds-based singer/songwriter and musician Jacob Andrews is the creative mastermind behind the rising recording project Honey Guide. Andrews is part of a scene that has recently been pervaded with a spirit of cooperation and collectiveness with various projects trading ideas, members and resources with the idea of uplifting the city’s entire indie scene: Andrews has worked on his material with members of Eades at their Bam Bam Studios. He has also played with Far Caspian, Niall Summerton and Harry Hanson. And he’s currently working on material with Van Houten’s Louis Sadler.

Andrews’ Honey Guide debut EP, A Tidy Room Is A Tidy Mind is slated for a December 10, 2021 release through Eades’ own Bam Bam Records. The EP will feature previously released singles “I Feel Funny” and “Oh Why” — and the EP’s latest single, the woozy and laconic “Just My Style.” Featuring a shuffling guitar-driven groove, shimmering synth bursts, a bluesy guitar solo and some upbeat, triumphant sax lines, the song shifts in pace and tone with brooding verses and rousingly anthemic choruses before a trippy Dark Side of the Moon/Wish You Were Here-like coda. At its core, “Just My Style” is a feel good anthem that comes from a familiar and deeply lived-in place. Thematically, the song focuses a bit on the odd push and pull many of us feel when in a new relationship/sitautionship: the desire to play it cool and move slowly, and and the desire to surrender yourself fully to your feelings.

“When it came down to writing the lyrics I had just met my partner and we were very much enjoying getting to know each other, and were both a little shocked at how much we had in common, so that inspired me a lot,” Andrews says in press notes. “It’s a sort of love song to her in that sense. A sort of ‘I think you’re cool and I’m really glad I met you’ song. It is also a song about missing a significant other, which is what I tried to portray in the chorus. 

“The song, like most of my songs, started with the music. I had the chords and the groove downs and always hummed the melody along, but never had any words, other than ‘That’s just my style’. For some reason those four words kept coming out of my mouth when I was recording the demo. “

 

Single Review by William Ruben Helms

New Audio: Emerging Artist Mighty Koba Releases a Summery Club Banger

Mighty Koba is an emerging and somewhat mysterious Cameroonian-American singer/songwriter. His latest single “Whine Poko” sees the emerging artist seamlessly bridging multiple cultures and styles with a slick and breezy dance floor friendly production featuring elements of Afrobeat, Afropop, reggae, dancehall and soca paired with an infectious, razor sharp hook.

With the temperatures dropping a bit here in the Northeast as we push further into Fall, “Whine Poko” at the moment is simultaneously, a nostalgic blast of summer and the sort of song you want to wine down with that pretty young thing at the club.

Single Review by William Ruben Helms

Since the release of 2016’s full-length debut High Hopes, Halifax, Nova Scotia-based post-punk act Like a Motorcycle — currently Kim Carson (bass, vocals), KT Lamond (guitar, vocals) and David Casey (guitar, vocals) and Clare McDonald (drums, vocals) — have managed to muscle through the sort of tumult and instances that has busted up countless other bands: substance abuse, health issues, several lineup changes, and a former label that nearly bankrupted them. And despite all of that they’ve bravely — and perhaps stubbornly — kept on, honing on their long-held reputation for crafting anthems for disenfranchised rejects like themselves, who are working several different gigs, maneuvering five-figure college debts and barely surviving.

The Halifax-based post-punk outfit’s sophomore effort, last year’s aptly titled Dead Broke featured the anthemic, Ganser-like “Wide Awake,” a bristling and incisive commentary on a capitalist system that allows and celebrates rampant exploitation for personal gain.  

Adding to a growing profile in their native Canada, Like a Motorcycle has opened for the likes of Against Me!, Propagandhi, Headstones, The Vibrators, Japandroids, The Pack A.D., Art Bergmann, Danko Jones and JOVM mainstays L.A. Witch and METZ.

The Halifax-based post-punk outfit’s latest single sees them tackling a song by Los Angeles-based cult favorite punk act The Screamers, who despite the buzz surrounding them at the time, never recorded or released an album. “122 Hours of Fear” outlines the 1977 hijacking of Lufthansa Flight 181 from the point of view of a hostage on the flight. Beginning with blown out beats, reverb and pedal effected guitars, the song quickly turns into a tense affair centered around angular guitar bursts, glistening synth arpeggios in the background, howled vocals and thunderous drumming. And at its core is slow-burning sense of dread of the potentially terrible fate that awaits the song’s narrator, much like the original.

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Single Review by William Ruben Helms

Initially started as a bedroom solo recording project back in 2017, Orlando-based psych outfit Timothy Eerie has become a full-fledged band with a rotating cast of players. The Orlando-based psych outfit’s latest single “We’re Going To Make It” is a sunny and lysergic anthem for the end of the world — or our near dystopian future.

Centered around reverb-drenched vocals. glistening organ arpeggios, scorching guitars and forceful drumming, “We’re Going To Make It” is indebted to 60s psych rock but with a modern twist: the song’s narrator knows that the hope for a better world may be desperate and foolish, which gives the song a bitterly ironic bite, just under the trippy vibes.

Single Review by William Ruben Helms

New Audio: AURUS Returns with a Mesmerizing New Single

Bastien Picot is a rising Réunion Island-born, Paris-based singer/songwriter, producer and creative mastermind behind AURUS, a rising electronic music project that specializes in an orchestral-leaning take on electro pop that has drawn comparisons to Nakhane, Woodkid, Peter Gabriel and others. 

With the release of 2019’s “The Abettors,” which featured Sandra Nkaké, Picot exploded into the French scene: The track thematically raised awareness of a system that exploited and took the living for granted. He started off last year with sets at  MaMA Festival and Bars en Trans Festival, opening for Vendredi sur Mer at L’Olympia, and being named a “revelation” of Chantier des Francos. 

Building upon that momentum, the rising French artist released his self-titled debut EP last June. Since the release of the EP, Picot has been busy: he recently released his highly-anticipated full-length debut Chimera, which feature the brooding and cinematic, Security-era Peter Gabriel-like “Momentum,” and the yearning, Amnesiac-era Radiohead meets contemporary alt pop-like “AWOL.” Conceived, written and recorded between Reunion Island and Paris, the album is an intuitive and tribal journey, in which what may seem irreconcilable meets and merges: Sonically, the songs mesh brooding atmospherics, tribal bets, military rhythms, and elements of trance, pop ballads and more with lyrics sung in English and Reunion Island Creole.

Chimera‘s latest single “Horus” is a mesmerizing, brooding and difficult to pigeon hole song: Featuring lyrics sung in alternating burst of English and Reunion Island Creole, the track begins with a cinematic opening organ and mournful yet regal horns before morphing into stunning electro pop centered around yearning church-like vocals, trippy yet propulsive polyrhythm, atmospheric synths and Picot’s unerring knack for infectious hooks paired with devastatingly earnest songwriting within material that’s simultaneously challenging and accessible.

Single Review by William Ruben Helms

Lincoln, NE-based soul and funk outfit Josh Hoyer & Soul Colossal — Josh Hoyer (vocals, keys), Blake DeForest (trumpet), Mike Keeling (bass), Benjamin Kushner (guitar) Harrison El Dorado (drums) — formed back in 2012. And since their formation, the Lincoln-based soul and funk outfit. which features some of their city’s most acclaimed and talented musicians, has received attention in the national and international soul and funk scenes for a genre-defying sound inspired by Stax Records, Motown Records, Muscle Shoals, New Orleans, Philadelphia and San Francisco.

During their run together, the Lincoln-based quintet have also developed a reputation for being one of the region’s hardest working bands: They’ve released five albums, including this year’s Eddie Roberts-produced Natural Born Hustler, which featured the The Payback-era James Brown meets 70s Motown-like “Hustler” and sociopolitically charged, bluesy and soulful strut “Sunday Lies.” Josh Hoyer & Soul Colossal have supported their albums with several tours across the Continental US and two European tours — and they’ve shared stages with George Clinton, Charles Bradley, Booker T. Jones, Muscle Shoals Soul Revue and an impressive list of others.

The Lincoln-based soul and funk outfit’s latest single, “Automatic” off Natural Born Hustler is a slow-burning and beguiling ballad that’s equal parts 50s doo-wop, Lou Rawls, and Motown/Daptone Records soul. Fittingly for a song centered around a classic and timeless sound and Hoyer’s effortless crooning, the song lyrically focuses on true love and its ability to make all of life’s woes and uncertainties disappear when you’re with your lover. From experience that sort of love is rare; but worthy of celebrating and cherishing.

Single Review by William Ruben Helms

Initially formed in Chicago back in 2019 and now currently based Portland, OR, the members of rising indie rock outfit Koalra quickly established a sound and songwriting approach indebted to 120 Minutes-era alt rock — in particular, The Cure, Dinosaur Jr., Ween, Sonic Youth, Boyracer, and The Thermals, as well as contemporaries like No Age, and Waaves. 

In the almost three years since their formation, the Portland-based outfit has been remarkably prolific: They’ve released three albums and a handful of EPs, including 2019’s self-titled debut, last year’s The Wakes and this year’s Into The Everything. Interestingly, Into The Everything, which featured “Water’s Push” found the rising indie rock act pushing their sound into decidedly New Wave territory. 

Koalra’s fourth album Love Songs To Remind Us That We Can’t Stand Each Other continues upon the band’s reputation for being prolific while being a collection of songs inspired by the disenchantment of our current sociopolitical climate, as well as a major lineup change — and their recent relocation to Portland.

Last month, I wrote about the  4AD Records-like “Sight Unseen,” a track centered around atmospheric synths, angular guitars, a driving, motorik-like groove, plaintive vocals and an enormous hook. Thematically, the song focused on some familiar and universal themes — in particular, nostalgia over a youthful yet major love that’s been long lost.

“When We Fall” is a melodic and yearning bit of post punk featuring shimmering and atmospheric synths, plaintive vocals, a driving 80s New Order-like groove, propulsive four-on-the-floor and a swooning hook. Much like its immediate predecessor, “When We Fall” is centered around a familiar nostalgia — of a time and place that you can’t quite get back.

Single Review by William Ruben Helms

Brighton-based dream pop act and JOVM mainstays Hanya — currently Heather Sheret (vocals, guitar), Benjamin Varnes (guitar), Jorge Bela (bass) and Jack Watkins (drums) — exploded into the national and international scenes with the release of their debut EP, I Used to Love You, Now I Don’t, an effort that saw the British outfit quickly and firmly establish a sound that featured elements of dream pop and shoegaze.

Much like countless acts across the globe, the Brighton-based JOVM mainstays had plans to build upon a rapidly growing profile both nationally and internationally: they released their acclaimed, sophomore EP Sea Shoes, which they supported with touring across the UK and their Stateside debut at that year’s New Colossus Festival. Since their New Colossus  set at The Bowery Electric last March, Hanya has been busy writing and releasing new material, including:  

  • “Texas,” a shimmering bit of dream pop that nods at 70s AM rock, and focuses on the longing and excitement of a new crush/new love/new situationship
  • “Monochrome,”a hazy and slow-burning ballad that celebrates the pleasures of life’s small things
  • “Lydia,” a slow-burning and gorgeous track that continues upon their winning mix of 70s AM rock and Beach House-like dream pop. 

The British dream pop outfit will be releasing their highly anticipated third EP lates this year. Now, as you may recall, last month, I wrote about the forthcoming EP’s lead single, the slow-burning “Fortunes,” which featured  A Storm In Heaven like painterly textures, ethereal harmonies and deeply personal, lived-in lyricism.

Hanya’s latest single “Logan’s Run” continues a recent run of lush and painterly textured material featuring glistening guitars for the song’s dreamy verses, towering feedback and pedal effect driven soloing, a propulsive backbeat paired with Heather Sheret’s gorgeous and expressive vocals. Sonically, “Logan Run” strikes me as being a sort of slick synthesis of brooding atmospherics, 79s AM rock and A Storm in Heaven-like textures.

“We wrote this track as a homage to its namesake – the 1970’s sci-fi classic Logan’s Run, set in a seemingly perfect future full of staggeringly blissful ignorance,” Hanya’s Heather Sheret explains. “We can’t get enough of this film, and whilst we were endlessly ageing during this pandemic, this track felt like our own soundtrack to the dystopian present. The film addresses concerns of consumption, truth and escape, all whilst remaining timelessly beautiful, confusing, and trashy. Just like us.”