Every Friday, Atwood Magazine’s staff share what they’ve been listening to that week – a song, an album, an artist – whatever’s been having an impact on them, in the moment.
This week’s weekly roundup features music by flipturn, Haley Heynderickx, Girl Scout, Isadore, bennytheghost & KiNG MALA, Johnny Hunter, WHO SHOT SCOTT, Beach Weather & BEL, The All Clear, Jordan Paul, Billy Strings, Bryce Bowyn, L.S. Dunes, The Keymakers, David Versace, Chloey Rose, Sheepskin, Federico Stock, Lucy & La Mer, and Irish Lights!
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:: “Rodeo Clown” – flipturn ::
Mitch Mosk, Beacon, New York
Yes, I will happily join flipturn and float above the clouds any day of the week. The Florida indie rock band’s first song of the year is a beautifully beachy reverie full of hot, sun-kissed melodies and sweaty, soul-stirring beats. It’s a lush, hazy seduction ready to warm our ears and our hearts as we join in the band’s daydream, fantasizing about intimacy, existential connection, and the life of a “Rodeo Clown.”
MDMA made me love you more
it’s all just a chemical feeling
So don’t take it so personal oh
My love’s still got meaning
And I’ve been waiting
For you to figure that out
My intoxication
Doesn’t mean, it didn’t count
Released September 26th via Dualtone Music Group, “Rodeo Clown” is the enchanting, entrancing lead single off flipturn’s forthcoming sophomore album, Burnout Days (due out January 2025). And what a return to the fore: Following 2022’s critically acclaimed debut LP Shadowglow and its 2023 deluxe release, this new single sees flipturn leaning ever-more into the smoldering vibes that have made them a beloved act in the indie and alternative worlds. It’s a feel-good, smile-inducing song ready to whisk us off our feet, and honestly, what more could we possibly ask for?
I’ve been feeling the weight of everything
yeah babe I hold it down
Floating into the same old empty I feel it now
I’ve been riding I’ve been rolling
I’ve thrown my reputation around
And I’m not a man with too many enemies
I’m just the rodeo clown
“When writing ‘Rodeo Clown,’ we always felt like it exuded a feeling of floating and weightlessness,” Madeline Jarman tells Atwood Magazine. “It’s a story of escaping reality, and putting on a happy face to distract others from realizing we may be dealing with emotional burdens and setbacks that life hands us.”
Here’s to letting love do the talking and basking in life’s bliss. May we all be a little more like the rodeo clown, living freely and fully in the moment.
:: “Foxglove” – Haley Heynderickx ::
Christine Buckley, Connecticut
Haley Heynderickx builds on her indie folk roots while incorporating instrumental layers, including a rich, bending cello throughout new single “Foxglove.” Sparse with its lyrics and clocking in at a short 2:35, it’s just a whiff of what’s to come, a quick sniff of the aroma beginning to emanate from Seed of a Seed. “Foxglove” connects with nature, Heynderickx describing herself playfully twirling a sprig of flowers and dancing on a fairground.
Playing with tempos and key signatures, the track feels like what it describes: like a prance, a romp through a meadow with a fistful of flowers. It asks, “Tell me, truly, what is your dream? Tell me, truly, is it the city life?” It’s plain-speaking and straightforward, yet the instrumentation is lush and intricate, reminiscent of Fleet Foxes.
The track previews Heynderickx’s upcoming sophomore album Seed of a Seed, to be released on December 6. It’s her first solo full-length LP since her 2018 debut I Need to Start a Garden.
:: “Honey” – Girl Scout ::
Mitch Mosk, Beacon, New York
Stockholm’s Girl Scout deliver a sweet n’ spicy punch on their intoxicating second single of the year. Propulsive and poignant, “Honey” soars on cinematic indie rock waves as the band dwell in the bittersweet depths of close friends growing apart, heartache, and our inevitable inability to keep everyone in your life at the same time. It’s a reckoning with the insurmountable ebb and flow of life and time itself, and the sobering realization that we’re all subject to so many forces outside our control. All we can do is hold our loved ones tight and live intentionally and as fully in-the-moment as we possibly can.
It’s gut-wrenching and brutal, but equally beautiful.
“‘Honey’ was one of those songs that arrived fully formed and there were no loose ends,” lead singer Emma Jansson tells Atwood Magazine. “The first version we made was very acoustically based and folksy, then [our guitarist] Viktor [Spasov] had the brilliant idea of playing it like a Strokes song, and making the guitars all distorted and chopped up.”
“I think it’s one of those songs that keeps its integrity no matter what form it takes. It’s so simple it can’t help being what it already is. It stemmed from feeling frustrated watching people close to me holding on to others that did not respect them, and the most natural way to process that was writing a song. Sometimes you just don’t want to stir the pot, you know? People have to live their lives and make their own mistakes and then all you can do is be there when they need you.”
Released September 6th via 235 Music, “Honey” is the second track taken off Girl Scout’s upcoming third EP HEADACHE, set to release November 8th. Following their critically acclaimed first two EPs Real Life Human Garbage and Granny Music (both of which have been featured on Atwood Magazine), the band’s latest record promises to continue delivering that raw, unfiltered indie rock passion, emotional depth, and breathtaking vulnerability that has come to be a trademark of Girl Scout’s artistry.
:: “Hold Up” – Isadore ::
Danielle Holian, Galway, Ireland
Isadore’s latest single, “Hold Up,” showcases a fierce evolution in her musical journey. Known for her soulful ballads and introspective themes, Isadore shifts gears with this lively anthem of independence. The single merges the rich emotion of R&B with the infectious energy of pop and hip-hop, resulting in a track that feels fresh yet familiar. The song’s upbeat tempo, paired with catchy hooks and confident verses, exudes a carefree spirit that is perfectly matched for late-night drives or spontaneous adventures. The production elevates the track, as the tailored beat complements Isadore’s lyrical vision, making “Hold Up” an undeniable earworm.
Beyond the vibrant sonics, “Hold Up” highlights Isadore’s versatility as an artist. While she’s known for exploring the complexities of relationships, this track shows a different side of her—one that’s ready to embrace freedom and fun. Despite its lighter tone, Isadore’s authenticity remains intact, solidifying her position as an R&B talent unafraid of growth. Her ability to balance introspection with experimentation makes her not only relatable but also refreshingly dynamic. With “Hold Up,” Isadore continues to evolve, delivering a sound that’s both emotionally resonant and irresistibly catchy.
:: “ANIMAL” – bennytheghost ft. KiNG MALA ::
Chloe Robinson, California
There can be a lot of good in the world. There are certain kind people and non-profit organizations that strive to make life better. Oftentimes though that is overshadowed by the evilness and greed that has also taken over. “ANIMAL” by bennytheghost ft. KiNG MALA is a fierce single focusing on the malicious, capitalist nightmare we live in. The dark piece highlights passionate vocals pouring over driving synths singing of a society in a state of disrepair. The chorus says it all. “You crave sophistication but you’re just an animal.”
A writer, musician, and performer, bennytheghost is a multi-talented force bursting through the music scene. He’s had the pleasure of touring with indie greats such as Hippo Campus and Remi Wolf. He’s also been featured on Elton John’s Rocket Hour and Zane Lowe’s radio shows. Collaborating with renowned artist KiNG MALA on this latest piece just adds a notch to his many musical accolades.
:: “HOT MESS” – Johnny Hunter ::
Mitch Mosk, Beacon, New York
Johnny Hunter are dramatic. Johnny Hunter are unapologetic. Johnny Hunter are jarring.
And Johnny Hunter are a “HOT MESS.” The post-punk band’s second song of the year is a sleazy and seductive fever dream: A churning, sonically charged outpouring from life’s beautifully dramatic dark depths. It’s the perfect soundtrack to unleashing your inner demons, and whether that means letting loose on the dance floor or strutting your stuff down some city’s street, Johnny Hunter’s unbound kinetic energy promises to facilitate that raw, cathartic release.
For the Australian band (who recently made a big, permanent move to the UK), “HOT MESS” is the future: A “potent cocktail of industrial, indie electronica and dance rock” (their words) that completely obliterates any and all boundaries.
I want you next to me
You make me want regrets
You wanna be next to me
Hot mess
I’m obsessed, I’m obsessed
With the way that you dress
Hot mess
“Following the release of our last album there was an element of internal staleness lingering. A conscious effort was made to evolve and ultimately have fun with the music we were making as everything we had done with Johnny Hunter was quite doom and gloom, and in truth we are not very serious people,” lead singer Nick Hutt tells Atwood Magazine.
“It was during this realization that we moved into a studio upstairs at The Lord Gladstone hotel. A Sydney watering hole for creatives young and old. Whenever we worked, there would be something on at the pub that could really make our night u-turn into chaos. Our studio became a halfway house for punters and close friends attending Dnb parties, live gigs, even life drawings on Tuesday.”
“You could never escape the inevitability that someone would come in, with a jug of beer and demand to listen to a demo. Naturally we started writing to suit the never-ending side quests that presented themselves to us. [Our bassist] Dakota would make these raucous, industrial drum loops that he’d test on people who entered the room and one of them was ‘Hot Mess.’”
“I remember one of the people he showed was Gerry, our drummer, and Gerry instantly vibed it, picked up the guitar, put his big muff on max and started riffing on the octaves. If there’s one thing we all have in common as a band, it’s that we all find ourselves at one point of the year just asking ourselves, ‘Why the f* am I like this?’ I suppose that’s why the concept Hot Mess really stuck. Nothing is ever easy with us, everything’s a mess, but it’s that chaotic spontaneity that makes the band work.”
Here we are
Two energies
The worst it can ever be
Let’s call it superficial
Maybe it’s problematic
Let’s call human nature
Let’s call it automatic
Let’s call it superficial
Let’s call it faux pas
Let’s call it human nature
Let’s call it fast cars
In short, “HOT MESS” is brutal, and yet it’s that brutality that makes it beautiful. Johnny Hunter are an Atwood Magazine Editor’s Pick, they were featured as one of our Top Artist Discoveries of 2022, and their debut LP WANT was highlighted as one of the Best Albums of 2022, described in no small terms as a “Cinematic Post-Punk Masterpiece.” Needless to say, the future is exceptionally bright for this group, and their desire to create a backdrop for human reconnection makes their music all the more alluring and irresistible.
You’re licking your lips
Like you like my lips
You are
You’re a hot mess baby
:: “LIL BIT OF HOT” – WHO SHOT SCOTT ::
Josh Weiner, Washington DC
At first, Iraq and New Zealand seem like such drastically different countries that it’s hard to connect them in the same chain of thought (the best I could think of was: “the early 2000’s were defined militarily by the Iraq War and cinematically by The Lord of the Rings trilogy, which was filmed in New Zealand”). But here’s a guy who can help to link what might otherwise seem like polar opposite nations in your mind: WHO SHOT SCOTT, an Iraqi-born, New Zealand-based alt-hip-hop artist who’s got a new single out entitled “LIL BIT OF HOT.”
“I had just gotten out of what I considered to be an extremely toxic relationship and was still weirdly attached to the false ideas and habits that had been ingrained in my psyche as a result,” says WHO SHOT SCOTT, who was born Zaidoon Nasir in Iraq, but left his unstable home nation as a youngster and has long since settled in Oceania. “I let myself fully unleash — all the anger, confusion, and pain went into the music.” Rough though this song’s origins may have been, Mr. Nasir has successfully channeled it all into some energetic, fast-paced, rock-heavy hip-hop. The track is effortlessly enjoyable– as is its Run Lola Run-evoking music video– and given that it was entirely written and self-produced by Nasir himself, that’s a sign that this guy is a man of many talents… and he’ll almost surely by employing them again for our further enjoyment soon enough!
:: “Deadbeat Blues” – Beach Weather ft. BEL ::
Mitch Mosk, Beacon, New York
Given how seductive “Deadbeat Blues” is, I really do believe Beach Weather are prepared to melt my ears, my heart, and my bones. The alt-rock band’s latest single – co-written and performed with Atwood favorite BEL – is a beautifully dreamy late-night reverie full of tight, bright beats, soulful vocals, emotionally charged lyrics, and utterly enchanting melodies. It’s a song of intimacy’s intensity – a smoldering, spellbinding eruption from their hearts, to our own.
Can’t deny, we’re living low
When we’re having conversations
through the bathroom door
Was it cheap drugs and cold sex?
Or some drama on the internet?
Black denim fantasy
Wrote initials on your window
over your backseat
And there’s no signs of regret
But just for a minute we were good
Now we’re nothin’, good for nothin’
Just for a minute, we were good
Now we’re nothin’, good for nothin’
Just for a minute
“‘Deadbeat Blues’ is a love song that captures the messy, imperfect side of relationships, embracing the chaos and dysfunction that can come with it,” Beach Weather’s frontman Nick Santino tells Atwood Magazine. “It’s about accepting the flaws and complications while still holding onto the connection.”
Everything rises to a fever pitch in the song’s cathartic, catchy chorus:
I could be somebody with somebody еlse
But I know I could be somebody with you
You could be somebody for somebody else
But you know that was only ever the truth
When you get back on, and you fall off
When I get back up, I fall
I could be somebody with somebody else
But I know I could be somebody with you
Released September 27th, “Deadbeat Blues” is the fourth single taken off Beach Weather’s upcoming sophomore album, Melt (out October 25th via Arista Records). Emanates the raw heat we feel in moments of pure passion, it’s a tantalizing exhale ready to enchant, invigorate, and consume us whole.
:: Harbour Songs – The All Clear ::
Danielle Holian, Galway, Ireland
Rising indie band The All Clear delivers a deeply moving and personal debut with Harbour Songs, an album that transports listeners into the intricate emotional world of frontman Joe O’Sullivan. Drawing from his experiences as both a musician and an oncologist, O’Sullivan’s songwriting is filled with lyrical introspection, capturing the rawness of life’s pivotal moments—such as the end of a marriage and the beginning of a new chapter. The band’s atmospheric soundscapes, woven through each track, evoke a sense of both solace and vulnerability. Songs like “I Won’t Be The Only One” and “The Right Side Of Vulnerable” explore the delicate dance between heartache and healing, while the introspective lyrics and tender melodies create a sonic landscape that feels both intimate and expansive.
What makes Harbour Songs stand out is the authenticity and emotional depth infused in the music. Each track is crafted with care, offering both catharsis and hope, as the band seamlessly blends moody, evocative instrumentation with O’Sullivan’s reflective lyricism. With influences from O’Sullivan’s professional life as a consultant oncologist, there’s a sense of profound humanity and empathy within the album. The All Clear has quickly established themselves as a notable presence on the indie scene, delivering a debut that feels not only resonant but timeless, marked by their ability to channel complex feelings into beautifully crafted songs.
:: “Dance With You” – Jordan Paul ::
Grace Holtzclaw, Los Angeles, CA
Jordan Paul is an artist who blends his passions for Motown and Hawaiian Reggae into a romantic, soulful sonnet on the nature of love. His new single “Dance With You” is about the transformative power of a destined romance and how a single moment of bliss shared with another heart can be enough to last forever.
“Dance With You” draws you in with melodic notes of piano, soul-stirring bass lines, and heartwarming horns that elevate Paul’s track to the next level. He serenades, “We’re tangled underneath the stars, swimming in our whiskey sours, feels like I’m floating.” “Dance With You” leans into the great classic love stories and love songs to create an atmosphere that pulls you under Paul’s lovestruck spell.
Jordan Paul is a Kaua‘i based artist who has supported the 1975, Declan McKenna, and Eli Smart on tour. Both a songwriter, producer, and singer, Paul is a master of artistry on every front. His new single “Dance With You” shows off his soft side for a track that makes your heart beat faster.
:: “Seven Weeks in County” – Billy Strings ::
Christine Buckley, Connecticut
“Nationality: American. Build: Rather slim. Hair: Rather long. Occupation: Cowboy, Ramblin’ man” reads the wanted poster for William Lee Apostol, alias Billy Strings, on a post outside a dingy bar in the dusty American West, circa 1875. We’re just two minutes into the 6:35 music video for Strings’ great single, “Seven Weeks in County,” from his new album Highway Prayers.
You don’t have to watch the music video to be transported into a Spaghetti Western–you’re there with the rhythmic gallop of the bass, the minor-key fiddle and the rolling banjo below below Strings’ flatpicking and his planspeaking croon “I’ve got seven weeks in county boys, but I don’t blame the man.” But you should definitely watch this mini-movie – I’ll call it a Stringhetti Western – where Strings ramps up melodrama as he is led to the gallows, narrowly escapes and eventually mows down a church full of people with a Gatling gun, all to save his young lady love. The video was filmed at Luck Ranch, located at Willie Nelson’s house, and Willie and his wife Anne are thanked in the closing credits.
It’s another Strings tune that sounds as though it’s already a classic among the great tunes on the new album. The interplay of all the strings and his smooth, unpretentious voice among them lament the singer’s biggest enemy: himself.
:: “Barbican” – Bryce Bowyn ::
Josh Weiner, Washington DC
As a Washington, DC native, I’m always open-minded about artists hailing from my beloved hometown, and the newest one on the list is current DC resident and electropop expert Bryce Bowyn. Over the sounds of a “swirling synthpop wonderland,” the singer/producer describes how “there’s a barbican around my heart,” basically alluding to how his recent love affairs have ultimately soured so badly that he’s now very defensive about the prospect of relaunching himself into the romantic arena– although second thoughts are seemingly creeping up into his mind. “Ba ba ba” makes for a highly infectious chant– as the Beach Boys demonstrated 60-some years ago on “Barbara Ann”– and Bryce Bowyn proves that much by throwing in a few catchy “ba-ba-barbican” cries in the fading moments of the record.
Electropop may not be the music that the Nation’s Capital is best-known for (jazz, go-go and funk are higher on the list, thanks to the like of Duke Ellington and Chuck Brown), but if artists like Bryce Bowyn keep doing the genre such service, then it’s likely to increasingly become a DC staple as time goes on. Oh, and keep an eye out for his new EP– it should be out before 2024 is through!
:: “Fatal Deluxe” – L.S. Dunes ::
Mitch Mosk, Beacon, New York
A fiery, feverish, and supercharged eruption, “Fatal Deluxe” is utterly uncompromising and all-consuming: The dramatic and thrilling return to the spotlight L.S. Dunes wholeheartedly deserve. The hard rock supergroup – comprised of vocalist Anthony Green (Circa Survive), guitarist Frank Iero (My Chemical Romance), bassist Tim Payne (Thursday), guitarist Travis Stever (Coheed and Cambria), and drummer Tucker Rule (Thursday) – came out of the gates swinging with 2022’s debut album Past Lives, a “cinematic outpouring of raw, radiant music and intense emotional vulnerability.”
Within the maelstrom of the band’s surging guitars, searing drums, and roaring vocals, one can feel bits of every member’s musical background – from emo, alt-rock, and punk to metal and hardcore, and more – and it’s that striking, seamlessly blended cross-section of rock that makes every L.S. Dunes release an irresistible, automatic winner.
Burn, focus, with a thirst unnatural
Whenever she gets high alone
Worship, shiver,
let the world know what you are
If that’s what she wants
“In my opinion, ‘Fatal Deluxe’ marks the official opening of chapter two for L.S. Dunes,” Frank Iero tells Atwood Magazine. “It’s a song that bridges the gap musically between where we were as a band and individually, and catches the listener up to where we are headed. It breaks quite a few conventional rules along the way and wipes clean the preconceptions of what the band is and might be capable of.”
“It is a song I didn’t want to stop listening to after we recorded it, and a song I cannot wait to play for a live audience. Those feelings are quite often the signs of something truly special.”
It’s a faceless crowd, a conscience lost
A dark secreting content salvage yard
Shallow grave
It’s a toxic-themed anniversary
Where everybody goes as their own ghost
A viral funeral post
You isolate and hibernate
You isolate and hibernate (And it feels like dying)
You isolate and hibernate
You isolate and hibernate (A conscience lost)
You isolate and hibernate
You isolate and hibernate (It feels like dying)
You isolate and hibernate…
A cinematic, explosive, rip-roaring rocker, “Fatal Deluxe” delivers three and a half minutes of nonstop action, and yet it feels like a five-minute magnum opus – a finessed tapestry of sonic and emotional turmoil, woven together by pure, palpable passion. It’s energetic and unrelenting – an exhilarating show of force from the hard rock world’s most promising supergroup.
Shiver, shiver, with a thirst unnatural
Whenever she gets high alone
Burn, worship, show what you were made of
If that’s what she wants
:: “Separate” – The Keymakers ::
Danielle Holian, Galway, Ireland
The Keymakers’ latest track “Separate” is a genre-defying anthem that seamlessly blends elements of electronic, chill house, and pop, resulting in a smooth and soulful sound. The song’s foundation of layered piano, electric guitars, and synths creates a textured and immersive backdrop, drawing listeners into its tender narrative of long-distance relationships. Emotions run deep as the duo delves into the bittersweet moments of separation, encapsulating both the yearning and love that exist in such relationships. The track offers a perfect balance of contemplative lyricism and infectious rhythms, making it equally resonant on an emotional and sonic level.
“Separate” continues to showcase The Keymakers’ knack for pushing boundaries and evolving their sound, while staying true to their mission of crafting music that connects deeply with their audience. Their ability to fuse genres with ease and build atmospheres that evoke both thought and movement places them in a promising position within the industry. With a clear vision and dedication to their craft, The Keymakers’ future releases are bound to further solidify their growing presence in the electronic and pop scenes.
:: Eye to Eye – David Versace ::
Frederick Bloy, London, England
Understanding the boundaries of our own musical tastes is not a bad thing. It is not a snobbish exercise to acknowledge that some sonorities, some sounds, simply… fall shy of enthralling us. In a moment of transparency, I will share that I’m not the biggest fan of jazz music. I would never say I hate anything, or would never try anything. I am not four, and we aren’t discussing green vegetables – I’m not so churlish or stubborn. I just don’t gravitate towards the genre. Please hold any protestations, because, this being qualified, sporadically, I will chance a jazz release, and, sporadically, it will enchant me. Most poignantly, this happened to me with Nala Sinephro’s ‘Space 1.8.’ There are moments that too genuinely dazzle me on David Versace’s Eye to Eye.
I should emphasise this – I do not hate jazz. If anything, I struggle to find truly unique, ingenious moments between pieces of jazz music, as to my ears, a lot of it fades into one swirling, gaseous seventh chord. Those moments are moments I crave across all music. I need shimmering irregularities, the briefest of breakages of genre, even the daintiest hints of unfiltered originality. These moments rear in Eye to Eye as oases of a comfort in serene scarcity. Moments where synths phosphoresce, where woodwinds huddle in choral fraternity. Suddenly, it is not a jazz album, but an ambient album, or, even more so, an expression of primal oneness. In drifting away from the bustling, churning shuffles of ever-rhythmic, ever-charming percussion, or the encircling licks of a trumpet, we find ourselves, somehow, in the Australian outback, its sands sifting, stoic, beneath a tapestry of glinting dot-to-dot resplendence. And in these moments, it is glorious.
:: “Runaway” – Chloey Rose ::
Danielle Holian, Galway, Ireland
Chloey Rose’s latest single, “Runaway,” is a bold statement of artistic growth that reveals her versatility as a pop artist. Departing from her usual introspective ballads, the single is an uplifting anthem that exudes empowerment and liberation. With its infectious melody and anthemic chorus, the track captures the emotional journey of breaking free from turmoil and reclaiming self-worth. Chloey’s theatrical flair is on full display, with her powerful, captivating vocals drawing listeners in and evoking comparisons to the likes of Adele and Paloma Faith. Her ability to channel raw emotion into a dynamic and liberating sound makes “Runaway” a true standout.
What sets Chloey Rose apart is her knack for pairing deeply personal lyrics with grand, theatrical performances. “Runaway” is not just a song about breaking free; it’s an anthem for anyone who has ever felt trapped in emotional uncertainty. The production is polished and energetic, allowing her vocals to soar while still maintaining an intimacy that resonates with listeners. As Chloey continues to evolve as an artist, her unique blend of alt-pop flair and heartfelt storytelling solidifies her as one of the most exciting rising stars in today’s music landscape. “Runaway” is a triumphant release that hints at even greater things to come from this emerging talent.
:: “Red Eye” – Sheepskin ::
Mitch Mosk, Beacon, New York
Sheepskin’s debut single is the kind of song you want to play at 5 o’ clock on a Friday, during that mindful transition out of the work week and into a weekend state of mind. Dreamy, breezy, and irresistibly relaxing, “Red Eye” blankets the ears with warm harmonies and sweet, seductive strings; it’s lush, lilting, and loving, here to help us forget our woes, leave our problems behind, and sink into a Saturday smile.
And it’s the perfect introduction to a band we will certainly be paying special attention to from here on out.
You found us whole and true
At least from my point of view
I wonder where you are now
We kept your olive green
Much shorter than it seemed
We took you away
But I spilled the, the ocean on the floor
And I let go, of your armor on the shore
“‘Red Eye’ examines a seemingly innocent and novel predicament – releasing a pet turtle into the wild – with a microscope to gain insight on letting go, accepting guilt, and tranquility experienced as a child, and how that shapes us moving forward,” Sheepskin tell Atwood Magazine. “We tried to be gentle with every instrument, even with dissonance sprinkled throughout the songwriting – an embrace for a wounded inner-child.”
Hailing from Northern Vermont, Sheepskin was founded by Sam Tiesworth of No Fun Haus and Molly Meehan of Vega, and is rounded out by Finn Lester Niles on the upright bass, Derrick Burt on the drums, and a medley of “classical guitars, keys, and hushed harmonies.” They self-describe as “a delicate and sincere combination of folk, spooky-country, slow-core, and gentle jazz-infused slacker rock,” adding that “they graze in sun-dappled meadows, moonlit backyards and in the basins of sand dunes, playing liminal parlor music for their favorite dive bar.”
And wouldn’t you know it, the shoe is a perfect fit: “Red Eye,” together with the band’s recently released debut album Pirate Ship Playground (September 13th via Lazy Susan Records), invite us to close our eyes and let our souls be swept away by Sheepskin’s dreamy, rich, and radiant alt-folk bliss.
You took up so much space
Red eye
Searching for the one, oh
You swam across the street
Found your way back to me
Returned you to the bay
But I spilled the, the ocean on the floor
And I let go, of your armor on the shore
:: “Half-Man” – Federico Stock ::
Mitch Mosk, Beacon, New York
Nostalgia ripples throughout Federico Stock’s wistful debut single in waves, lapping at our ears as his gentle voice tugs at the heartstrings. A soft, soul-stirring song of life and loss, “Half-Man” aches with the burden of being; the New York City singer/songwriter spills his heart out in an intimate, brutally raw, beautifully acoustic indie folk lullaby, evoking the spirits of Elliott Smith and Nick Drake whilst building a world that is at one haunting and wholesome, tender and yet full of turmoil:
I feel uneasy between my shoulders
And I’m rushing off the sweetness in my sweat
Dilutes the memory as it gets colder
A children’s game to wake me up if I forget
Then I remember I’ll never be
What I want to be
And lose my temper over and over
At a half man
That’s what my grandma used to call me
When I was just a boy
And what’s a boy to do
But cry because it’s true
That I’ll never talk to you
“‘Half-Man’ tackles my obsession with nostalgia, with feeling a hit of the past by concentrating on it so hard I can almost feel it again,” Stock tells Atwood Magazine. “I wrote it at a time when I was constantly thinking what it would be like to talk to people I’d known or lost, what they’d be like now, whether it’d be like before. In all of this I was also self-aware of the indulgent aspect of nostalgia, that it can take me away from what I should really be doing, leaving me only half in the present.”
“As a little kid, I would try to act older than I was, and my grandma would call me ‘mezzo uomo’ — ‘half-man.’ Now I was unable to move forward, only looking back, so I decided to take a self-deprecating meaning out of the nickname and apply it to my own nostalgiomania (a completely made up word).”
And there’s a reason the world was made
So you can’t be in the same place twice
Coz if you could then well every movement
Would just be a sick roll of the dice
And I could tell you every time you crossed my mind
Nostalgiomania is in my bloodstream
And in this river
And I am drowning
I am just a boy
And what’s a boy to do
But cry because it’s true
That I’ll never talk to you
“Half-Man” is unabridged and unfiltered. It’s part-daydream, part-waking nightmare – an all-consuming reflection on the endless ebb and flow of time, memory, and meaning. And for those who have lost loved ones, it’s a special reminder that they carry on in us – through cherished moments past and present, conversations with ghosts, and everything in-between.
:: “Palm Springs” – Lucy & La Mer ::
Chloe Robinson, California
Summer is coming to a close, but do not worry, you can hold onto those effortlessly sunny vibes with Lucy & La Mer’s feel-good single “Palm Springs.” The bright, jingly backdrop gives you all of those happy vacation vibes and we are here for it. The song is not only fun, but also holds an important meaning. The track is all about taking these labels that are placed on us and using them to empower instead of just confine. The singer shares, “We need to champion the bi-curious and foster an environment where multiple labels, or none at all, are embraced and celebrated.”
Lucy & La Mer is a vibrant indie-pop artist whose unique soundscapes and infectious melodies truly enchant fans. Her tender lyrics showcase a deep self-acceptance that inspires listeners to embrace their own identities as well. This upbeat anthem is another one that reminds us to live in true authenticity.
:: “Haulbowline” – Irish Lights ::
Danielle Holian, Galway, Ireland
Irish Lights’ “Haulbowline” is an atmospheric journey through sound, transporting listeners to the heart of the ocean’s vast and mysterious expanse. The instrumental track opens with a haunting blend of ambient electronica, painting a picture of a lone boat drifting across open waters. The tender acoustic guitar intertwines with expansive synths, creating a serene yet melancholic soundscape that echoes the gentle creaking of wood and the whisper of the wind. The lo-fi texture of the production enhances the sense of isolation and introspection, capturing the raw beauty and solitude of the sea.
The duo’s masterful layering of electronic and organic elements evokes a deep connection to nature and the enduring power of the sea. The track effortlessly balances desolation with peace, resonating with themes of resilience and serenity. As “Haulbowline” unfolds, it feels less like a song and more like a meditative experience, immersing listeners in the subtle rhythms of wind and waves. This evocative and intricate piece marks a bold new chapter for Irish Lights, leaving us eagerly awaiting their forthcoming album, which promises more of their immersive and emotive storytelling.
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