I’ve written quite a bit about the Copenhagen, Denmark-based pop duo Palace Winter — Australian-born, Copenhagen-based singer/songwriter Carl Coleman and Danish-born, Copenhagen-based producer and classically trained pianist Caspar Hesselager — over the past few years. The act can trace its origins to the duo’s mutual familiarity and appreciation for each other’s work throughout a number of different projects. Naturally, that mutual familiarity and appreciation for each other’s work, led to the duo working together.
Coleman and Hesselager released their Palace Winter debut single in 2015 — but the following year was a breakthrough year for the Copenhagen-based duo: they released their EP Meditation and full-length debut Waiting for the World to Turn to critical praise from The Guardian, NME, The Line of Best Fit, and airplay from KCRW, KEXP, Norway’s P3, Denmark’s P6, as well as by BBC Radio personalities Guy Garvey, Lauren Laverne and Tom Ravenscroft. Adding to a growing profile, the duo have a Hype Machine #1 single under their belts, have opened for Noel Gallagher, and have made appearances across the European festival circuit, including sets at Guy Garvey’s curated Meltdown Festival, Roskilde Festival, Green Man Festival, Sziget Festival, Latitude Festival and Secret Garden Party among others.
Building upon a rapidly growing profile, Coleman and Hesselager released their sophomore album, 2018’s Nowadays. Arguably one of my favorite albums of the year, the album’s material found the duo expanding upon the sound and songwriting approach that won them praise, as they paired breezy, melodic, radio friendly pop with dark thematic concerns — in particular, the loss of innocence as one becomes an adult, with its accompanying tough and sobering lessons; the freedom and power that comes as one takes control of their live and destiny. But this was all underpinned by the inconsolable grief of profound loss. The album suggests a couple of things that I’ve learned about life in my 41 years : Life is ultimately about accepting immense, inconsolable loss as part of the price of admission, and somehow you have to figure out some way to move forwards, even its in fits and starts. And that a significant portion of our lives will be spent maneuvering the confusing push and pull between love and lust, with the prerequisite remote, anxiety, bitterness and loathing. Life is never easy and there’s never easy solutions.
Palace Winter’s highly anticipated, third album . . . Keep Dreaming, Buddy is slated for an October 23, 2020 release through Tambourhinoceros Records — and unlike their preceding albums, . . .Keep Dreaming, Buddy’s material was written through a long distance correspondence as the band’s Coleman was residing in Tenerife, Canary Islands, Spain:“Caspar was sending me these synth hooks and drum loops from Denmark, so I started coming up with melodies and lyrical ideas to record into my phone,” Coleman says of the writing sessions. While Coleman’s lyrics were inspired by Tenerife’s unique landscape, drawing parallels between Mt. Teide, a dormant volcano, which also is one of Spain’s tallest peaks and the looming fear of a relationship disintegrating, Hesselager’s instrumental parts were inspired by Copenhagen’s landscape. And as a result, the album’s material is literally a tale of two cities.
“Top of the Hill,” which features a guest spot from Lowly is a perfect example of the album’s literal tale of two cities: shimmering and icy synths and thumping beats and an enormous, arena rock hook are paired with Coleman’s lyrics, which feature volcanic imagery to describe the broiling and bubbling feelings of dissatisfaction, frustration, deceit and distrust that come up in a failing relationship. And yet, throughout there’s the dim chance it could survive — even if it shouldn’t.
Starring Carla Viola Thurøe, the recently released video follows the actor on a lysergic-tinged walk around Copenhagen’s parks and streets — and we see Thurøe’s attentive gaze shift from crystal balls to flowers, with the Danish actor carefully examining them and their texture. In many ways, the video mirrors Hesselager and Coleman’s writing process with Hesselager walking around Copenhagen figuring out the unfinished instrumentation and beats ins head and how they fit with Coleman’s phone recordings.
Nicolas Michaux is a Brussells-born singer/songwriter, guitarist and producer, who currently splits his time between Brussels and Samsø, Denmark. Writing and singing material in both English and French, Michaux has received attention for a sound that meshes elements of French chanson, 60s British rock and early New Wave among others while guided by a distinctly personal spirit — and paired with a lush and textured production.
Earlier this year, Michaux released “Harvesters,” which received praise from The Linen of Best Fit and marked the first bit of original material from the Belgian-born singer/songwriter, guitarist and producer since 2016’s À la via, à la mort. Building upon the momentum of “Harvesters,” Michaux’s last single “Nos Retrouvailles” continues his ongoing collaboration with Morgan Vigilante. Centered around a lush arrangement featuring shimmering Rhodes, reverb-drenched guitar, a propulsive rhythm section and Michaux’s achingly plaintive vocals, “Nos Retrouvailles” is a charming yet nostalgic track that’s decidedly influenced by French chanson as it touches upon themes of love, grief, separation and reunion — either in this world or in the afterlife.
“I began writing this song in 2016 when I first went to Samsø,” Michaux says in press notes about the song. “It was sunny in the tiny courtyard of the house that we were renting at the time. I finished it three years later when I returned to Samsø Island and made an acoustic version before producing several months later the version which figures on the album.
“It’s a bit mysterious, the song, but also well balanced. I hardly feel I wrote it. It was always there. Discovered rather than composed. It lends itself to several interpretations and that’s what I like about it. It has more than one voice.”
Directed by Simon Vanrie, the recently released video for “Nos Retrouvailles” was filmed in an industrial park in Belgium. Starring Michaux and Amadine Laval and Habib Ben Tanfous as two star-crossed lovers — and throughout parallels are drawn between the pastoral imagery of the song’s lyrics, the video’s star-crossed lovers and a small bit of natural, bursting from the industrial wasteland with the end result being of a fever dream of longing and loss.
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 Fit, Clash 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.”
Over the past couple of years, I’ve managed to spill quite a bit of virtual ink writing about the Amsterdam-based singer/songwriter, multi-instrumentalist, producer and multidisciplinary artist Tessa Rose Jackson, the creative mastermind behind the rising indie recording project Someone. With the release of her debut EP Chain Reaction, Jackson quickly received attention for pairing her music with an accompanying short film.
The Dutch singer/songwriter, producer and multidisciplinary artist’s sophomore EP Orbit found Jackson exploring the intensity with which art and music can be fused and how they can be more fully enhanced. Thematically the material was an incisive commentary on our overstimulated digital age that suggests that we spend so much time staring into our phones and on social media, endlessly exposing ourselves to external distractions to the point that we’re essentially orbiting each other. And as a result, we rarely touch, rest or even focus long enough to connect to anyone or any particular thing. Orbit received praise from The Line of Best Fit, DIY Magazine, The 405 and NME — with NME picking her set as a highlight of last year’s Eurosonic.
2020 looks to be a breakthrough year for the Dutch-based Jackson: her highly-anticipated Someone full-length debut, Orbit II is slated for a June 20, 2020 release through [PIAS] Recordings. And already, the album’s first single “Forget Forgive” was recently featured in a pivotal scene of the acclaimed Netflix series Dear White People. Building upon the momentum of the past year or so, Orbit II’s latest single “You Live In My Phone” is a sultry and decided change in sonic direction for the Amsterdam-based artist. Centered around a shimmering synth and key arpeggios, stuttering beats, Jackson’s breathy vocal delivery the song sonically sounds like a slick synthesis of neo soul and Daft Punk. Thematically, the song continues the Dutch artist’s focus on technology and social media on us and our relationships.
“It isn’t meant as a personal diary log for me to vent my feelings and that’s that. I’d like it to be more of a bolstering experience, a conversation starter for people that recognise themselves in these songs,” Jackson says of Orbit II’s material. “The music is optimistic, even if the lyrics sometimes wade into some pretty harsh waters and this balance -to me -helps to bring perspective, positivity and a little humour into the mix.”
Created by Someone’s Tessa Rose Jackson and directed by David Spearing, the recently released video for “You Live In My Phone” is indebted to 50s and 80s low-budget sci-fi and horror films. We follow the life story of its protagonist, Joe who has spent his entire childhood immersed with his smartphone, to the exclusion of life around him. One night, the grown Joe falls asleep with his trust phony during a thunderstorm, and when he wakes up he finds his phone gone — and his head replaced by a giant emoji. It’s a decidedly absurd tragicomedy that finds our now emoji-headed protagonist desperately alone and misunderstood. Every time that he tries to reach out to another, he’s completely ignored by people on their phones. The only time anyone does connect with him, they spend time taking picture of him for their social media feeds. And in anger, he turns those who have tormented him into emoji-heads.
Orbit II will be releasing alongside an app that allows listeners to experience the record’s artwork in augmented reality. ” “To me, playfulness is a big part of what I do. I hope to invite people to explore and experience new music (and art) actively, instead of passively. Hands on,” Jackson explains. “This is why the visually interactive element of ORBIT II is so essential.”
Helene Alexandra Jæger is a Norwegian-born, Los Angeles-based singer/songwriter, multi-instrumentalist and creative mastermind behind the rising recording project Holy Boy. Recorded at Ben Hillier’s London-based Pool Studios, Jæger’s 2017 Holy Boy self-titled debut was released to widespread critical acclaim with EP single “The Blood Moon” receiving airplay on BBC Radio 1 while establishing her sound – a sound that takes cues from The Velvet Underground and Talk Talk’s Spirit of Eden, Suicide, the dark side of the 60s, vintage girl bands and West Coast hip-hop and she has dubbed “neon gothic.” Thematically, the Norwegian-born, Los Angeles-based artist’s work focuses on “explorations in consciousness,” she explains in press notes.
Building upon a growing profile, Jæger performed sets at that year’s CMJ, NXNE and SXSW. She followed that up with the critically applauded single “Elegy,” which The Line of Best Fit described as being “at once eclectic and utterly immersive; smoky and classic, yet simultaneously futuristic.”
Much like the countless emerging artists I’ve covered on this site over the past decade, Jæger began the year with big plans to boost her profile and her career that included booked sets at this year’s SXSW, which would have corresponded with the release of the first single off her forthcoming 11 song, full-length debut, which is slated for release this summer. Of course, as a result of the COVID-19 pandemic, SXSW was cancelled while countless other festivals, tours and shows were postponed until later this year. Interestingly, the album’s first single was released last month – and it turns out to be an eerily fitting and timely cover of The Doors’ classic “Riders On The Storm.” Centered around layers of shimmering organs, including Hammond, Rhodes, Optigan and Vox Continental, vintage 70s drum machines and 80s Casio synths, along with Jæger’s dusky vocals drenched in gentle reverb, delay and other ethereal effects, the Norwegian-born, Los Angeles-based artist’s haunting and cinematic rendition retains the somber and brooding tone of the original while adding that seemingly unending sense of dread and uncertainty that we’ve all felt in our lives over the past month or so.
The accompanying video is fittingly creepy and yet highly symbolic: it features a lo-fi, computer generated skeleton in space, walking up a never-ending staircase.
I recently exchanged emails with Jæger for this Q&A. Current events have impacted all of us – and they’ve found a way to bleed into our personal and professional lives in ways that will likely reverberate for some time to come. Because she had plans to play at SXSW until it was canceled as a result of the COVID-19 pandemic, we chat briefly about how the pandemic has impacted her and her career. But the bulk of our conversation, we chat about her attention- grabbing cover of The Doors’ classic tune, and what we should expect from her forthcoming debut. Check it out below.
___ WRH: Most parts of the country are enacting social distancing guidelines as a result of the COVID-19 pandemic. Here in New York, we’ve been social distancing and in-quarantine for the better part of three weeks. It’s been tough – but it’s for the greater good. How are you holding up?
Helene Alexandra Jæger: I love New York, and it’s crazy what’s happening right now. I hope it turns around and that we all learn something from this that can save lives in the future and now. Here in L.A., we’ve been at home for three or four weeks — I can’t even remember — and most things have been shut since then. It’s been strict, but I’m grateful for that – better safe than sorry in this type of a situation.
I’m lucky as an introvert, I’m quite comfortable spending time on my own reading, exploring info online, creating and listening to music.
WRH: You were about to release new material at around the time that SXSW had to cancel because of the COVID-19 pandemic. How has COVID-19 impacted you and your career at the moment?
HAJ: The cancellation came so suddenly; the whole festival was shut down less than a week before I was headed there to showcase my album live for the first time. I feel the cancellation of SXSW was a turnaround, for the first time people started to realize how serious this outbreak might get…
Until that, most people I heard from thought the danger was exaggerated, and so I’m really glad the city of Austin made a firm decision, because I don’t know what the situation would have been like if 60,000 people had gathered for SXSW as planned, just a few weeks back.
Since this outbreak, I’ve been trying to manage the “Riders On The Storm” release that was too late to cancel — and somehow turned out to be more poignant right now than I’d ever expected.
I was planning to release my debut album this spring, was working on music video plans, and had live shows in the pipeline around the release, but that’s all on ice now. The good thing is, I get to create more and spend time making more music. I also have a poetry collection I’ve been working on for a while, and it’s given me time to focus on that and prepare for that release.
WRH: How would you describe your sound, for those unfamiliar to you and Holy Boy’s sound?
HAJ: This is always tricky. I feel like it’s a world where it’s dark, but there are neon lights on, and you can see the stars and the moon. There’s a dreamy quality to it, but it can also get gritty and sensual. I sometimes think of it as Moon in Scorpio, 5th house, that’s my placement. It’s a dark and deep place where there’s sometimes a feeling of being closer to space than earth. Musically, I call it Neon Gothic or LA noir, organ rock.
WRH: Who are your influences?
HAJ: I love all kinds of music, but for this coming album, I’ve been immersing myself in what felt like it resonated with the emotions in those songs. Songs like “No Quarter” by Led Zeppelin, David Bowie’s Blackstar album, “Nikes” by Frank Ocean, Suicide and songs by The Shangri-La’s, Johnny Jewel’s work . . .
WRH: Who are you listening to right now?
HAJ: I’m really enjoying the Spotify Discover Weekly playlist where the algorithm presents you with music it thinks you’ll like, and I’ve been going on a deep dive based on doing research for a TV idea I’ve been working on… A beautiful and uplifting raw song I think everyone could benefit from right now is an old gospel type recording “Like A Ship” by Pastor T.L. Barrett and The Youth for Christ Choir… I think it’s a really inspiring song for this time.
I’ve also been listening to demos and outtakes from Bob Dylan’s “Blonde On Blonde” sessions and it’s been such a revelation to hear how incredibly different the other takes were… To see how fluid his process was, that a song like “Like A Rolling Stone” ended up the way we know it, when the other takes were so different… There’s a real magic to it. Like listening into an alternate reality.
WRH: You recently released an eerie and ominous cover of The Doors’ “Riders on the Storm.” I think if Jim Morrison was alive today, he would have really dug what you did with the song. What drew you to the song? Have the living members of The Doors heard the song? If they did, what did they think of it?
HAJ: That means a lot to me, thank you so much. I know he had an interest in the worlds beyond and the nature of life and death, which I personally resonate with, so it was a great experience to channel one of his/their songs . . .
One of the reasons I was drawn to making a cover of “Riders On The Storm”, besides being a huge fan of The Doors, is it feels like a seeker’s song, and it felt like a kindred spirit to the way I look at the world. A sense of not quite being at home and not quite belonging on earth.
From what I know, they haven’t heard it, but I really hope they would enjoy my version. I hope they are all safe and well, all four of them in this world and the other.
WRH: The recent video for “Riders on the Storm” features a computer-animated skeleton in space, walking up an infinite staircase. It’s fittingly ominous and as eerie. How did you come about this treatment – and what is it supposed to represent?
HAJ: When I saw Andrei/@dualvoidanimafff’s lofi retro futuristic animations online, I knew I wanted to work on something with him. For “Riders On The Storm”, I just saw this idea of a skeleton walking up a never-ending staircase in space… Like man’s ascension, our eternal human quest to become more or to rise out of the limitations of physical life, to reach this idea of heaven or perfection… It felt to me like a logical depiction of the song’s theme, “Riders On The Storm”… The impossibility of our pursuit, but also the beauty – that throughout history we’ve never stopped trying.
WRH: You have an album slated for a late August release. What should we expect from the album?
HAJ: My version of “Riders On The Storm” is definitely in the same world that the record takes place in. An otherworldly atmosphere built around Hammond/Rhodes/Optigan organs, Vox Continentals, vintage 70s drum machines and obscure 80s Casio synths. It’s definitely a nighttime record, it’s happening in the dark, songs that I hope can be cathartic in a time like this and what most likely lies ahead.
With the release of their critically applauded full-length debut, 2016’s Divine Love, the Swedish-Belgian duo and married couple Victoria + Jean received attention across Scandinavia, the European Union and the States internationally recognized media outlets like Noisey, Nowness, Konbini, The Line of Best Fit, Flaunt Magazine and others, including this site, for a slinky, seductive and explosive sound that meshes elements of indie rock, experimental pop, experimental rock, the blues and others that at points brings PJ Harvey and others to mind.
The duo’s long-awaited sophomore Henrik Alsér-produced album UNDERDOG is slated for release during the Spring — and the album’s first single is the brooding and menacing “Imbecile.” Centered around an atmospheric arrangement featuring sinister and propulsive bass line, insistent beats, slashing guitar lines, Victoria’s expressive vocals, a guest vocal turn from Eiffel’s Romain Humeau and an enormous hook, the song is full of bitter and accusatory resentments, the bile taste of failure and frustration, the disappointment and anger of betrayal, the gnawing sense of self-about and self-flagellation. It’s arguably, the angriest song they’ve released to date — and it’s fueled by personal experience.
“After the release of the first album, we found ourselves in debt and lost our home,” Victoria + Jean’s Victoria explains in press notes. “We were left on our own, and were much disappointed by humans and by some of our close friends’ reactions. And it’s at those moments, you know who are the friends you can trust, and those you can’t. ‘Imbecile’ came to us as a result of what are the real faces of people, just t be truthful and to say ‘you know I’m not imbecile, I know you are thinking.’ Or just to say — your’e a bloody fucking imbecile!” Unsurprisingly, the song was also partially inspired by and was coincidentally written during world events — particularly, the humanitarian and legal crisis at the American/Mexican border, Brexit and so on.
Directed by Sebastien Alouf, the recently released video for “Imbecile” is a cinematically shot, documentary-styled visual that follows the duo through a couple of days of their lives in Bristol that pulls back the curtains to reveal how their romantic and creative lives are intertwined and are one in the same. And throughout, the viewer sees that when the couple are together they’re in their own perfect world of art and love. “It has been several years since i met Victoria and Jean, and ever since I have episodically followed their adventures, life projects and music,” Alouf explains in press notes. “I have long been looking for a pretext to return to immerse myself in the intimacy of this couple, tell the reverse side of the scenery, the little strings that bind these two hypersensitive, hyper-creative and fusional beings. I wanted to make a sensitive fragment of their existence. . .”
Jordan Mackampa is a rising London-born and-based Congolese-British singer/songwriter. With the release of “Under,” 2016’s Physics EP, and 2017’s Tales From The Broken EP and Live from the Grand Cru EP, Mackampa has received critical praise from NME, The 405, The Line of Best Fit, Clash, Indie Shuffle, Wonderland and others while his work amassed over 50 million Spotify streams.
Mackampa’s work is inspired by his Congolese roots and his mother’s love of legendary soul singers like Marvin Gaye, Bill Withers and Curtis Mayfield. And as a result, the Congolese-British singer/songwriter has developed a reputation for pairing old-school singer/songwriter soul, earnest songwriting and catchy melodies with a modern songwriting approach. Now, if you’ve been frequenting this site over the past few months, you may recall that Mackampa’s highly anticipated, full-length debut Foreigner is slated for a March 13, 2020 release through AWAL.
Reportedly, the album’s material draws from the sounds and stories of the cities he’s spent time in and inhabited over the years, and while documenting his life as an outsider, the material’s sound is a melting pot of cultures that draws from his birthplace in the Republic of the Congo, his mom’s classic soul record collection, hip-hop obsessed childhood in North London, and his Coventry, UK-based teen years, immersed in indie rock — and all of that meshes together to create a hybrid of alternative pop, soul and indie rock.
Late last year, I wrote about “Parachutes,” a breezy and deliberately crafted track centered around a radio friendly yet loose arrangement of twinkling keys, shimmering guitars, a sinuous bass line and propulsive drumming pared with Mackampa’s easygoing vocals, evoking the soaring highs of being in love and the embittering low of heartache within the turn of a phrase. The album’s latest single “Magic” is a breezy and swinging pop song that reveals Mackampa’s genre-defying sound: the song draws from old school soul, Bossa nova and samba simultaneously. “This is a bossa nova and samba-infused feel good kinda track about when you can’t get someone off your mind,” Mackampa says in press notes. “”You’ve had one taste and you want more!”
Directed by longtime collaborator Tom Ewbank and featuring choreography from Taali Kwaten, the recently released video for “Magic” was filmed in a South London underpass is centered around the Congolese-British singer/songwriter and his backing band performing the song in front of a collection of diverse partiers, who dance the night around. The video manages to further emphasize the song’s ebullient joy of being infatuated by new love.
Over the past couple of years, I’ve managed to write a bit about JOVM Matthew Messore, who’s an Orlando, FL-born and-based singer/songwriter and multi-instrumentalist. best known as the creative mastermind behind the rapidly rising bedroom recording project Cathedral Bells. Since the release of 2018’s self-titled EP, which received support from David Dean Burkhart and praise from The Line of Best Fit, Messore has released a handful of singles from his highly-anticipated Cathedral Bells full-length debut Velvet Spirit, which is slated for a March 6, 2020 release through Good Eye Records.
The JOVM mainstay begins 2020 with “Disconnected,” the latest single off his forthcoming debut, and much like its predecessors, the new single continues to cement the sound that has won the attention of the blogosphere, including this site: centered around Messore’s ethereal vocals, delicately shimmering and reverb-drenched guitars and a motorik groove, “Disconnected” is a shoegazer-like take on New Wave that recalls early 4AD Records and others but while possessing a swooning urgency.
Over the past year, I’ve written a bit about the rapidly rising Brighton, UK-based indie rock band Thyla. The act can trace its origins back to when its founding trio — Millie Duthie, Danny Southwell and Dan Hole — met while attending college. Bonding over shared musical interests, the band’s founding trio started writing material together. But with the addition of Mitch Dutch, the band began to reimagine their sound and aesthetic, centered around a general distaste of what they felt was the stale and boring state of the British recording industry.
Interestingly, during that same period of time, the members of Thyla have helped establish and cement their hometown’s reputation for production a music scene that features some of England’s hottest emerging acts — while playing shows with the likes of Dream Wife, Luxury Death, Matt Maltese, Yonaka, Husky Loops and Lazy Day. They’ve also shared bills with Sunflower Bean, INHEAVEN and Fickle Friends while being spotlighted alongside Pale Waves, Nilüfer Yanya, and Sorry in NME‘s 100 Essential Acts for 2018.
They’ve continued on the remarkable momentum of last year with their debut EP What’s On Your Mind, which was released earlier this year to reviews from Pitchfork, Stereogum, NME, The Line of Best Fit and Dork. The EP also received airplay from BBC Radio 1, BBC Radio 6, Radio X and KCRW. Building upon a growing national and international profile, the band has spent a portion of this year on the road opening for Rolling Blackouts Costal Fever, played attention-grabbing sets at The Great Escape, Live At Leeds and Hit The North. And adding to a massive year for the band, they also went on their first national UK tour, which included their biggest show to date, at London’s Electrowerkz.
And while it’s been an extraordinarily busy year for the band, they’ve managed to work on new material, which will compose their highly-anticipated sophomore EP slated for release early next year. Now, as you may recall, earlier this year, I wrote about the EP’s first, official single, the boldly ambitious “Two Sense,” a single centered around a rousingly anthemic, arena rock friendly hook, explosive power chords, thunderous drumming, earnest vocals and a slick, modern production that emphasizes a band that has grown more confident and self-assured. But along with that the song, featured a purposeful and defiant message about claiming your right to self-determination.
The EP’s second and latest single “Lenox Hill” continues in the same sonic vein as its immediate predecessor, as it features a driving groove, shimmering and angular guitar lines and a rousing hook. And while continuing a run of remarkably self-assured and ambitious songs — it may arguably be the most personal song they’ve written in some time, as it’s an honest and triumphant coming-of-age story that touches upon finding oneself again to figure out where you need to be and need to go.
“Lenox Hill is the hospital I was born in, with the track inspired by my early years as a kid living in New York City. It’s an honest and emotional coming-of-age tale,” the band’s Millie Duthie explains in press notes. “Life can take so many turns and you can forget where you came from and what makes you you. The important stuff like family can get set aside in the pursuit of whatever it is that drives you. ‘Lenox Hill’ is about realising you’re lost and deciding to go back to your roots to find the way again.”
Directed and shot by the members of the rapidly rising Brighton-based band, the recently released video for “Lenox Hill” was filmed in the band’s hometown and stars the band’s Duthie in a series of brightly colored outfits. We follow her as she dances and runs around town. And while firmly following a DIY spirit, the video manages to capture the song’s immense and triumphant air.
“The urge to put ‘Lenox Hill’ to video was too strong to ignore, so we decided to try and shoot something essentially for free,” Thyla’s Millie Duthie reveals in press notes. We bought a gimbal stabiliser off Amazon and used Danny’s iPhone to shoot the whole thing, turns out all you need is some outfits, a willingness to look a bit silly to passers by and a whole load of patience for editing in iMovie and you’ve got yourself a music video! We had a lot of fun making it and we hope it sheds some light on the song and how it makes us feel.”
Matthew Messore is an Orlando, FL-born and-based singer/songwriter and multi-instrumentalist. best known as the creative mastermind behind the rapidly rising bedroom recording project Cathedral Bells. Now, as you may recall since the release of last year’s breakthrough self-titled EP, an effort which received support from David Dean Burkhart and praise from The Line of Best Fit, Messore has released a handful of singles from his highly-anticipated Cathedral Bells full-length debut, Velvet Spirit, which will be released through Good Eye Records on March 6, 2020.
The album’s third and latest single “Ephemeral” continues a run of material centered around ethereal vocals., shimmering and reverb-drenched guitars, propulsive drum machine, a motorik-like groove and an infectious radio-friendly hook. And while clearly indebted to 4AD Records glorious heyday, The Cure, The Sisters of Mercy, Chain of Flowers and others, the song is a swooning and urgent fever dream.