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 Soda Blonde, Mk.gee, M.anifest, The Cavemen., & Flea, Gabriella Raelyn, RiTcH, Party Nails, Gordi & SOAK, Julia Logan, Binoy, Golden Bug & Phoebe Coco, ISHAN, Sunna Margrét, The Veils, Superbloom, Black Doldrums, Lucy Frost, Pretty Jane, Lily Beau, Chasing Kites, Ella Jinks, Pilar Victoria, and Alas de Liona!
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follow WEEKLY ROUNDUP on Spotify
:: “Bully” – Soda Blonde ::
Mitch Mosk, Beacon, New York
Obsession is nine letters and a lifetime of turmoil. It’s all too easy to fall prey to our own thoughts – to become a victim to our inner anxieties, insecurities, and demons. Try as we might, it happens all the time – that devil on our shoulder constantly keeping us second-guessing ourselves, wondering if we’re good enough for the lives we want and the lives we have.
Irish indie pop band Soda Blonde have wrestled with these emotions throughout their short, but mighty five-year tenure, and the group’s latest single is perhaps their boldest attempt yet to bring the darkness into the light, so that we may all shine a little brighter in our comings and goings. A dynamic, dramatic eruption of angst and upheaval, “Bully” is a beautifully cathartic release that moves us to dance, to dream big, and to fight the good fight for as long as we can, so as to never let the bad thoughts win.
We are so much more than our lowest moments or our darkest days, and through three minutes of enchanting, catchy sonic euphoria, Soda Blonde remind us not just to smile and see the light, but to know, once and for all, that we can overcome the bully within us.
Is it I embarrassed you?
Don’t you think that I look good?
But everybody all agrees
You and I were meant to be
Oh it’s the beginning
And we don’t know what we’ve got
They’re going to heaven
And you don’t know why you’re not
What is it that I did wrong
You won’t look in my eyes anymore
But everybody all agrees
You and I were meant to be
Released October 18th via Overbite Records, “Bully” is Soda Blonde’s only single of 2024 and a powerful return following 2023’s acclaimed sophomore album, Dream Big, which Atwood Magazine praised as “a record built on ambition, raw passion, and the unabating drive of the human spirit” and “beautifully dramatic and boldly dynamic – uncompromising both in its values and in its sound.”
As frontwoman Faye O’Rourke puts it, this new song channels her “brain rot” out into the world in a digestible, relatable framework. “‘Bully’ is a stubborn knot of internal dialogue, unrequited love and my own longing for acceptance,” she tells Atwood Magazine. We hear and feel the full force of her convictions in the song’s spirited chorus:
Oh it’s the beginning
and we don’t know what we’ve got
They’re going to heaven
And you don’t know why you’re not
I don’t think you’re listening
I told you it would be tough
I don’t think you want it
You’re not trying hard enough
While its author may be drenched in dread, “Bully” is utter ecstasy: An uplifting, smile-inducing jam that all but demands kinetic movement from its audience. So as Soda Blonde hopelessly dwell in anxiety on one hand, the other is busy getting lost in a moment of emotional and sonic release. The end result is a perfect marriage of intimate feeling and soul-stirring sound – and another reminder (not that we needed it) of Soda Blonde’s breathtaking talents and their enduring strength as a singular voice in the indie pop space and a need-to-know musical juggernaut.
You’re giving me the runaround
You’re giving me the runaround
I’m giving you the runaround
We don’t know what we’ve got
Oh it’s the beginning
and we don’t know what we’ve got
They’re going to heaven
And you don’t know why you’re not
I don’t think you’re listening
I told you it would be tough
I don’t think you want it
You’re not trying hard enough
:: “ROCKMAN” – Mk.gee ::
Mitch Mosk, Beacon, New York
With its seductive grooves and impassioned vocal lines, the latest Mk.gee revelation is more upbeat than what we’ve heard from the artist this year – and no less enchanting or electrifying. Following February’s debut album Two Star & The Dream Police and August’s standalone single “Lonely Fight,” “Rockman” (released October 18th via R&R Digital) is another smoldering eruption out of NJ-born singer/songwriter, producer, and multi-instrumentalist Michael Todd Gordon’s singular, trailblazing musical mind.
The dynamic and dreamy new single finds Mk.gee caught up, seemingly in the throes of passion as, over pulsating guitar licks and hypnotizing drum beats, he fervently declares, “Honey just shut up and ride. Wherever you are, I want it on fire.”
Keep it up, you started a war
Keep it up, you started a war
Oh, you can laugh it off
But you started a war (Oh, oh, yeah)
Oh, you can laugh it off
But you started a war (Oh, oh, yeah)…
Intense yearning coalesces with the intensity of a single moment as Mk.gee builds out this world made for two. Tension rises as pianos join the mix, adding a fresh texture and brighter sound to his intimate, intoxicating reverie.
Honey, look close into my eyes
Whenever I feel, I need you tonight
Keep it up (You started — hah)
Keep it up, you started a war
Can’t see you, but I see what you’re saying
The little moves that you’re making
We can bite down on the world for the taking
The little ones that you’re making
Can’t see you, but I see what you’rе saying
The little moves that you’rе making
We can bite down on the world for the taking
Baby, ooh, can’t you take it?
Aching though it may be underneath, “ROCKMAN” is equally soothing – a feel-good fervor, its deep grooves as intoxicating and immersive as they are irresistible. That Mk.gee also added some endearing hawk sounds and phaser noises to the final twenty seconds of the mix just makes the track that much more fun to play on repeat, which I will be doing now through year’s end.
Oh, you can laugh it off
But you started a war (Oh, oh, yeah)
Oh, you can laugh it off
But you started a war (Oh, oh, yeah)
Oh, you can laugh it off
But you started a war (Oh, oh, yeah)
Oh, you can laugh it off
But you started a war (Oh, yeah)
:: “PUFF PUFF” – M.anifest, The Cavemen., Flea ::
Josh Weiner, Washington DC
As a longtime Red Hot Chilli Peppers fan, I was immediately pleased to come across a new track featuring Flea. Here’s a guy who’s been making music and movies for 40+ years and collaborated far and wide throughout that time – but even by those standards, I wasn’t ready for what I came across here: Flea teaming up with a rapper from Ghana, M.anifest, and a highlife fusion band from Nigeria, The Cavemen. Plus, he’s taking a break from his go-to instrument, the bass, and giving a little trumpet-playing a try!
Hey, who doesn’t love a good surprise, though? All of those elements come together quite well in the multi-textured “PUFF PUFF,” which features M.anifest chronicling his daily lifestyle (“Daily overthinking, daily meditation, that’s a preview of my preoccupation”) and The Cavemen offering him their support as he engages in said process (“Keep the fire burning, don’t give up. Keep the fire burning, puff puff pass”). Experienced hip-hop producer Budo contributes the suave beat, which his client M.anifest describes as “this free-spirited vibe that flows effortlessly, harmonious yet reflective, set against these warm, natural backdrops.”
The end result, M.anifest concludes, is “one of the most seamless blends of highlife and hip-hop you’ve ever heard” and also “one of my favorite-ever collaborations because of how it’s so innovative and unexpected yet still so familiar.” Flea was wise to have hopped onto this track, trumpet in hand, indeed.
:: “Crush at first sight…” – Gabriella Raelyn ::
Rachel Leong, France
Gabriella Raelyn has been on the rise recently, and she’s just dropped her latest single, “Crush at first sight…” A dark feminine exploration of desire, Raelyn’s distinctive vocals beckon you into her sonic world, laid atop dynamic production and driving rhythms.
Her creative feats span beyond her own music. Singularly taking the reins on all production, visuals and composition elements, Raelyn propels forth with authentic woman artistry at a whole new level. With a burgeoning TikTok following, Raelyn shines in her covers of modern classics with an ‘80s twist, creating all her own visuals to accompany. A powerhouse in music production, artistic vision, and bold lyricism, the young artist shines in her element – with a self-assuredness similar to that of an artist with years under their belt.
Alongside the track, Raelyn released a self-directed new music video as well as slow & fast versions of the track. In the video, Raelyn enters an old Victorian-esque house, as a masked figure appears, wistfully by her every step. Visual storytelling is just another part of her craft, and her music is the center point of her creative realm. Through the lens of dark femininity, she creates story worlds of sonic escape, filled with star-crossed lovers and forbidden love.
:: “Emotional” – RiTcH ::
Joe Beer, Surrey, UK
British artist RiTcH just dropped his new single and music video “Emotional,” taking us along on the rollercoaster ride that is modern dating. Through both the playful lyrics and clown-faced visuals, RiTcH points to how ridiculous a romantic pursuit can be. From game-playing, to love-bombing and ghosting, for most people, dating is a total nightmare, but for RiTcH, he can’t help but enjoy the cat and mouse chase!
The songwriter shares, “Emotional is essentially about enjoying the back and forth. I wouldn’t have ever called it a relationship, but I was chatting to this girl who loved messing with my head and I didn’t mind it being messed with at the time, that’s what kept it fresh and exciting.”
The whole foolishness of it all is highlighted in the new music, where we witness the artist going about his day, with an AR filter of a clown face. Much like how people hide behind their screens to avoid confronting their true feelings, RiTcH uses a clown filter to mask the deeper emotional complexities that come with modern dating. He explains, “With the video, we had the idea to represent the emotions with AR face filters and filming it was intense. I had a big camera attached to a pole coming out of my chest, with a light shining in my face and obviously people who saw me couldn’t see the filters. I was mad worried I just looked like some crazy narcissistic influencer. Definitely had to keep it tunnel visioned doing this one in public.”
“Emotional” is a colorful and vibrant track that comes to life with shimmering synths, a vibey, infectious beat, and RiTcH’s uniquely laid-back vocal delivery, adding a cool, effortless charm to the song.
:: “First Responder” – Party Nails ::
Chloe Robinson, California
Do you ever feel like you give everything to someone until they bleed you dry? Party Nails’ “First Responder” details a toxic person in your life that you constantly drop everything for. A passionate pop vocal soars over glistening dew dropped electro rhythms. Lyrics such as “Rushing to the scene to hold your hand I hope you understand that the last time is this time,” demonstrate just how fed up she has become with this tired routine. Many of us, especially people pleasers, relate to wanting to help a friend in need. Sometimes though, it can be at the expense of your own wellbeing and happiness. Party Nails reminds us that it is okay to put yourself first.
Party Nails aka Elana Carroll is an enchanting pop singer who creates songs listeners can deeply connect to. Catchy tracks such as “So Broke” and “Effexor” are great examples of that. Her musical career began with her playing any open mic near her hometown of Chatham, New York. That dedication to her craft is still present to this day. Just like she would do anything for a friend, she does it all for her career and it shows.
:: “Lunch at Dune” – Gordi x SOAK ::
Mitch Mosk, Beacon, New York
“You know it’s hard to see with your eyes closed,” Gordi sings at the start of “Lunch At Dune,” her gentle voice trembling with a heavy, aching, and unbearable weight. “You’re getting lost in your mind out there; the world is crippling all you care for.” Tenderness on the outside belies the turmoil within as the Australian singer/songwriter and producer delivers a breathtaking, soul-stirring reverie; a song so intimate and vulnerable, so fragile and delicate, that we can’t help but quiet down and listen close, taking in all she and collaborator SOAK have to say.
Gordi’s second song of the year (following a “sad cover” of Charli XCX’s “Apple”), “Lunch At Dune” is the kind of track that is sure to make listeners fall in love with her singular, stunning folktronica artistry all over again. Ethereal, atmospheric, and drenched in raw emotion, “Lunch At Dune” pulls inspiration from those moments where existential dread and human connection intertwine. It’s the first look at a fresh set of songs made with Northern Irish folk artist and Mercury Prize winning singer/songwriter SOAK, and one that will no doubt come in handy on all of life’s rainy, stormy days ahead.
You know
It’s hard to see with your eyes closed
You’re getting lost in your mind out there
The world is crippling all you care for
Lights out
Like the city has closed down
All my galaxies in your grasp
Don’t abandon them I won’t last long
“Imagine you’re sat across from someone and there’s this overwhelming, insurmountable thing hanging over you both. And neither of you know what to say. There’s just a big, hollow space, where words should go. You want to comfort each other, say something reassuring, but words just don’t feel like enough. This was the feeling I was sitting in when I wrote ‘Lunch At Dune,’” Gordi tells Atwood Magazine.
“It was February 2020, and the world was coming to a standstill. I was in an Airbnb in London on a press trip for my upcoming record, and with every passing day, the situation around the pandemic was escalating. The stress of the minutiae of life was dramatically shoved into perspective as, suddenly, nothing mattered. So, as I have often done in my life in times of uncertainty and anxiety, I started writing. About perspective. About making the most of. About remembering what is truly important. These thoughts turned into ‘Lunch At Dune.’”
The song’s breathtakingly beautiful chorus is a moment of reckoning, of reflection, of confession, and raw, intimate connection. Gordi and SOAK’s voices combine with effortless grace as they bare their naked souls, surrendering to this sacred space they’ve created together.
You
You are a force that renders me defenseless
And I,
I know the pressure you feel seems relentless
But everything is fleeting
Except you and I
“Everything is fleeting, except you and I.” Life is cruel and nothing is forever, but in a moment of true connection, we are immortal and undeniably everlasting.
“I was in a studio in Camden the following day and I mapped out the arrangement with guitars and layers of vocals,” Gordi says, continuing her story. “A lot of those pieces are in the final song. Over two years later, I flew to Durham in North Carolina to spend some time in the studio with my buddy, Brad Cook. Brad and I had met in 2018 when I sang with his band Big Red Machine at festivals in Eau Claire and Berlin. I took what Brad and I recorded together – guitars, keys, pedal steel – back to Melbourne, and sat tinkering with the song for many months, until I decided it needed another vocalist.”
“I had been a long-time admirer of SOAK’s songwriting, and even saw Bridie play in Sydney in 2014. I sent them the song and they hit me back, saying they were driving around the Portuguese countryside listening to it. They tracked their vocals remotely and I think it perfectly rounded out the song.”
Certain
Is the weight of what burdens you
Remember when we had lunch at Dune
It felt like something that we’d never get through
And we say
When things are better we forget
The nights and phone calls that we regret
So count the seconds and the minutes
and the hours and the days
There won’t be a second time
“Lunch At Dune” is romantic; “Lunch At Dune” is disarming; “Lunch At Dune” is cathartic, heartrending, and gut-wrenchingly beautiful.
Together, Gordi and SOAK have crafted a cinematic, immersive, and absolutely irresistible journey into the depths of not just the heart, but the soul: And it is within those powerful, achingly emotive depths that they express just how important it is to feel connected to someone else in our lives, especially in times of tension, struggle, and strife. There doesn’t have to be a global pandemic to feel like all hope is lost; these emotions creep up on us all the time, and having a shoulder to cry on, a hand to hold and to squeeze, a pair of eyes to see us and a pair of ears to hear us can make all the difference between restful and sleepless nights; between our anxiety overwhelming us, and maintaining a sense of balance and calm.
For all the turmoil the came before us, and all that’s still to come, “Lunch At Dune” is a cathartic breath of love, comfort, and understanding. It’s a beautiful ballad in its own right, and a song we’ll no doubt have on hand, ready to listen to on repeat, for years and years to come.
At some point
It all stops…
You
You are a force that renders me defenseless
And I
I know the pressure you feel seems relentless
But everything is fleeting
Except you and I
:: “Moodswings” – Julia Logan ::
Mitch Mosk, Beacon, New York
“The heart’s a lonely hunter in an empty space when the mood swings color the ground,” Julia Logan sings in her latest breathtaking chorus, an angelic voice reckoning with aches we’ve all experienced; aches that can’t be denied, bypassed, or ignored. “And the summit wind blows, I’ll wait for you; like a jewel in the sky, I’ll be gone.” Released September 13th, 2024 via Mayborn Music / Dumont Dumont, “Moodswings” – the third single taken off Logan’s forthcoming sophomore album Faraway Nearby – is a dreamy, spellbinding enchantment; a tender tempest channeling unfiltered emotional angst and some of life’s unbearable weight into beautiful, heartwarming sound.
Settled down
Caught you on the way to freedom town
Couldn’t call you by your name
Saw you falling to the ground
Later on the writing’s on the wall again
The footprints are gone
Heard you calling
This time around
Brought to life together with Logan’s longtime collaborator and producer Daniel Bengtson, “Moodswings” is candid, cathartic, and comforting in its exploration of loss and hope, and the balance thereof. “Unavoidable in life, we all experience grief, but there is light and freedom for those we have lost too,” Logan tells Atwood Magazine. “Written during the pandemic, a time of collective loss, this piece is personal to both [of us], but has new meaning as we search to find light in a time of uncertainty. Sound-wise we took inspiration from Nick Drake and Lucio Battisti.”
Silence over sorrow
When the stillness overflows
Out into nothing
The song hits its climax in a spirited, cinematic, catchy, and emotionally potent chorus:
‘Cause the heart’s a lonely hunter
In an empty space
When the moodswings
Color the ground
And the summit wind blows
I’ll wait for you
Like a jewel in the sky
I’ll be gone
We can’t avoid those moody blues, but we do know that they too shall pass; that after every darkness comes the dawn. And while having any number of tools at our disposal doesn’t stop the pain from hurting, or keep the aches at bay, there’s something to be said of understanding our emotions, our psyches, and our tendencies; to knowing how our moods can, and will, get the best of us, and remembering that we are more than any single thought or feeling makes us out to be; that we can overcome these things within us, even when it feels like all hope is lost, even when we fall prey time and again… listening to Julia Logan’s “Moodswings,” we can’t help but look up with a sense of hope and healing, promise and potential. We can’t help but feel the light shine down on us once more.
Moody blue
Constellation’s coming soon
Come and be mine
In the valley
Without a sound
Silence over sorrow
When the whole world is blinded
by the sun
‘Cause the heart’s a lonely hunter
In an empty space
When the moodswings
Color the ground
And the summit wind blows
I’ll wait for you
Like a jewel in the sky
I’ll be gone
:: The Great Alone – Binoy ::
Danielle Holian, Galway, Ireland
Binoy’s The Great Alone is a mesmerizing debut album that masterfully blends indie pop, rock, and dance-driven rhythms into a deeply emotional journey. Inspired by solitude, each track unravels a unique exploration of loneliness – from the yearning for connection to the serenity found in being alone. Standout songs like “Heartstopper” pulse with bouncy, infectious energy, while “Dare” and the title track showcase Binoy’s knack for anthemic, alternative pop hooks. His emotive lyricism, reflecting his identity as a queer person of colour, elevates the project, making it both personal and universally relatable. This album cements Binoy as a dynamic voice in modern pop.
:: “Red Wolf” – Golden Bug ::
Danielle Holian, Galway, Ireland
Golden Bug’s latest release, “Red Wolf,” featuring Phoebe Coco, is a captivating exploration of genre fusion and artistic innovation. Known for his eclectic sound, the experimental producer continues to push the boundaries of electronica, blending it seamlessly with elements of singer-songwriter, rock, and spoken word in this standout track. Phoebe Coco’s hypnotic vocals glide through the slow-motion, psychedelic atmosphere, adding an ethereal quality that enhances the track’s dreamy, retro-futuristic vibe. The intricate layering of soundscapes – ranging from glitchy beats to ambient textures – creates a surreal auditory experience, inviting listeners to get lost in its mesmerizing rhythms.
Accompanying the track is a visually stunning music video that mirrors the song’s experimental nature. The imagery, much like the sound, blends past and future, offering a surreal, otherworldly journey that complements Golden Bug’s sonic vision. With “Red Wolf” lifted from his album, PISCOLABIS II, the producer reaffirms his reputation for breaking convention and exploring new frontiers in electronic music. The song stands as a testament to Golden Bug’s tireless dedication to creating boundary-pushing work, with Phoebe Coco’s vocals perfectly capturing the essence of the track’s hypnotic, exploratory spirit.
:: “Olivia Rodrigo” – ISHAN ::
Mitch Mosk, Beacon, New York
From day one, ISHAN’s music has been cheeky, cheerful, and charming – and all three of these words apply to the Melbourne / Narrm singer/songwriter’s latest smile-inducing seduction. Released September 27th via Community Music, “Olivia Rodrigo” has been billed as a “playful tribute to one of the world’s biggest pop stars,” and it surely is – after all, the song literally starts with the line, “I don’t think I’ve seen someone as pretty as Olivia Rodrigo; isn’t she perfection?” Yet all the while, ISHAN keeps his eyes on the real prize, which in this case is delivering a fiery, feverish pop-rock anthem of passion, longing, and desire.
I don’t think I’ve seen someone
as pretty as Olivia Rodrigo
Isn’t she perfection?
Hope she doesn’t have an ego
I would very much like to
date her if it ever came up
I don’t think it will though
Just my luck
Are there girls, who can be, Olivia-esque?
‘Cause I don’t wanna be unreasonable
But I love the way she dresses
Can I just get ten percent of Olivia’s love?
He probably won’t be becoming ‘Mr. SOUR’ anytime soon (as he dreams of in the second verse), but ISHAN has us hooked – and there’s no denying his song’s infectious, irresistible earworm qualities:
“‘Olivia Rodrigo’ is a tongue in cheek pop-rock song about wanting to find a small slice of the pop star’s magic in real life,” her tells Atwood Magazine. “It holds Olivia Rodrigo up as a quintessential, talented, and much loved pop star whilst indulging the perspective of an average fan who would obviously never even meet her. They feel so understood by her music that they look to the real world for someone who has, as the song says, ‘10% of her charisma and charm.’”
“Although it does ask questions about the connection we have with famous people, I hope fans will simply rally behind the idea that the song is a light-hearted look at fame and of course Olivia Rodrigo. Ultimately, I am a huge fan of hers, so it comes from a place of appreciation for her as an artist.”
His chorus is catchy, cathartic, and utterly all-consuming:
I’m searching in the crowd
I know it can’t be found
But I just want a little bit of that girl now
I’m calling out her name
I watch her smile and wave
I’m hoping I can find someone who makes me feel the same
Can I just get ten percent of Olivia’s love?
“Olivia Rodrigo” is ISHAN’s sixth song released this year, and the latest single taken off his forthcoming debut album Who the hell is Klara?, out March 28, 2025. A provocative, rip-roaring frenzy, it’s a fitting display of the young, fast-rising artist’s raw talents, and an undeniable hit in its own right. Stay tuned for much more to come from ISHAN over the next few months, and join him in obsessing unapologetically over “Olivia Rodrigo.”
And if she does ever hear this song, here’s to hoping she finds finds it more charming than alarming.
Wouldn’t it be funny
just to run around as Mr. Sour?
I’d give up my freedom
And she’d have all the power
Don’t even get me started on the fact
she’s got a voice like an angel
I’d give up a weekend
Just to hear her for an hour
Are there girls, who can be, Olivia-esque?
Cause I don’t wanna be unreasonable
But I love the way she dresses
Can I just get ten percent of Olivia’s love?
I’m searching in the crowd
I know it can’t be found
But I just want a little bit of that girl now
I’m calling out her name
I watch her smile and wave
I’m hoping I can find someone
who makes me feel the same
Can I just get ten percent of Olivia’s love?
:: “Fern” – Sunna Margrét ::
Josh Weiner, Washington DC
I have not yet had the good fortune of visiting Iceland myself but I’ll take everyone I know who has been there and spoken to me about it at their word– it’s a pretty incredible and surreal place to be! Kind of like being on the moon, from what I hear. By extension, it makes sense that those same adjectives can be used to describe the new music produced by a native singer from Iceland.
Sunna Margrét Þórisdóttir (who uses her first two names as her stage name), who’s originally from Reykjavik but has been living in Lausanne, Switzerland as of late, has achieved just that much with her latest track, “Fern,” which she describes as a plea for others to understand her better. In addition to “surreal,” I would bestow other praising adjectives on this track: “immersing,” “soothing,” and “smooth” among them. It’s a song that Sunna Margrét completed as part of a musical residency in Nantes, France, and it took her 100-some tries to get the melody the way she wanted. The final result, though, can be considered a proud inclusion on her debut album, Finger on Tongue, and Sunna is sure to deliver a fine live treatment of it once she returns to her home nation to perform in the Iceland Airwaves festival on November 8th.
:: “The Ladder” – The Veils ::
Joe Beer, Surrey, UK
English/New Zealand rock band, The Veils, have just announced their seventh studio album, Asphodels, and ahead of its release, they have dropped one of its nine tracks, “The Ladder.” Offering a glimpse into the upcoming album, the single stays true to the band’s renowned and beloved sound that has kept them going strong for over 20 years, while also serving as an homage to the music frontman Finn Andrews grew up with.
Within “The Ladder” and throughout the rest of the album, the addition of strings take center stage, painstakingly crafted to act as another member of the band with its own character and personality. Emphasizing the dynamic storytelling and spine-tingling atmosphere, every part of “The Ladder” is intentional. Reminiscent of ancient folklore, the track features a haunting melody and thundering percussion, accompanied by evocative lyrics that were inspired by the magical paintings of Hieronymus Bosch. Andrews shares, “It’s about the longing to transcend the relentless chaos of our world, I suppose. But don’t let that description get you down, it’s also a jaunty little number.”
:: “Enjoy” – Superbloom ::
Mitch Mosk, Beacon, New York
The fire burns, roars, and rages in Superbloom’s “Enjoy” as the Brooklyn-based alt-rock band deliver their latest cataclysmic, larger-than-life eruption. An Atwood Magazine favorite for four years now, the five-piece of Dave Hoon, Matteo Dix, Tim Choate, Brian DiMeglio, and brand new member Ian Marchionda deliver feverish sound with a controlled kind of chaos: They’re raucous, raw, and utterly unapologetic in their craft, exploding out of the gate on this new track that immediately hits hard and leaves a lasting mark on the ears, the body, and the soul. Surrounded by thunderous, spirited drums and walls of searing guitars, lead singer Dave Hoon delivers a scathing, charged critique of modern living:
The world is slipping away on replay
So we can stare at walls
I’m pissing your bed, the new wet
Burning the midnight oil
My fountainhead is tied around your neck
Enjoy packing the mold
that you sold to spend it all
If I wanted you to you wouldn’t come loose
it’s so true abandon another mall
You gotta steal a modest meal
Renewed salvation’s
just a click away for you
We were never meant to be
Stuck behind computer screens
Think about the future when
All the doors are closed again
Heaven used to be a lock
Now you got a weight on top
Watching all the castles burn
Does it make you happier?
Are you happier?
The title “Enjoy” is so comically tongue-in-cheek that we can’t help but smile, all the while feeling the heavy weight and sheer brutality of Superbloom’s music. A breathtaking cacophony, “Enjoy” is a reminder of Superbloom’s provocative alt-rock prowess; two albums in, they continue to blow up our speakers and set our skies on fire with songs that bite with a visceral, ferocious, and undeniable force.
The world is slipping away on replay
So we can stare at walls
I’m pissing your bed, the new wet
Burning the midnight oil
I feel complete ‘cause I’m obsolete
:: “Hideaway” – Black Doldrums ::
Mitch Mosk, Beacon, New York
Black Doldrums hit with a maelstrom of post-punk fervor as their second studio album, In Limerence (released October 18th via Fuzz Club), gets underway. Sonically sinister and seductive, “Hideaway” is a breathtakingly bold and brash upheaval full of fiery guitars, churning drums, and intoxicating, emotionally charged vocals. The London-based trio waste no time in setting an intense and all-consuming scene, establishing their unique brand of moody, gothic post-punk and inviting their audience to bask in the fires of their own creation.
“‘Hideaway’ is a love song with a twist,” the band shares. “A wanting and longing to let someone in and show them who we really are inside. Both good and bad for better or worse. I want you to know who I am. Now you’re inside you won’t like what you see.”
There’s something to be said about highlighting both the pros and the cons of vulnerability; perhaps those cons are driven by lingering doubts and insecurities that the writer is ‘worthy’ of love, of being seen, understood, and accepted for who they truly are. By no means is this a healthy mentality, but it’s a relatable perspective, a thought that millions of people are currently working through, and one that all of us have had at some point along our own journeys.
“Hideaway” hits hard and fast, with a vast wall of sound consuming the ears and drenching the soul in thick, feverish waves of passion. It’s a phenomenal (re)introduction to Black Doldrums – the trio of Kevin Goddard [guitar/vocals], Sophie Landers [drums], and Daniel Armstrong [bassist] – as well as a powerful, emphatic, and definitive scene-setter for In Limerence (which itself is a “state of intense, all-consuming romantic longing”).
“There is a constant theme of trying to find happiness in a confusing modern world,” the band says of their sophomore record. “In a time of protest, this album is itself a protest by expressing how to feel in such a world.”
Dark, dynamic, dramatic, and cinematic, “Hideaway” is a perfect window into Black Doldrums, and a fantastic eruption of sound and fury that leaves us breathless, restless, and inspired.
:: “To Pieces” – Lucy Frost ::
Danielle Holian, Galway, Ireland
Boston-based singer/songwriter Lucy Frost, known for her dark pop and indie fusion, has dropped her latest single, “To Pieces.” Produced by Nick Schmidt, the song struck an immediate chord with Frost, inspiring her to craft lyrics that reflect the raw emotions evoked by the production. Describing the process, Frost said the song “just fell perfectly into place,” capturing the vulnerability of new love and the bittersweet reality that it may not last forever. “To Pieces” is an emotional dive into the highs and lows of romantic uncertainty, blending poignant melodies with Frost’s signature moody sound.
:: “Stand So Close” – Pretty Jane ::
Chloe Robinson, California
Infectious indie rockers Pretty Jane have crafted a mesmerizing anthem of unrequited love. Entitled “Stand So Close” the track highlights emotive vocals pushing atop shining synths for an air of nostalgia that is easy to love. There is a thrilling sensation you get from knowing you want someone so badly. It can be tricky though when the other person is completely oblivious to your advances. You can hear that intense yearning in the intoxicating tone. The music video is just as magnetic. Pining over a diner waitress, there is an electric tension that is palpable and raw.
Pretty Jane is a Detroit born Nashville-based trio holding nothing back. Each of their songs possesses deep connection and vulnerability. The threesome consists of Trevor Dalrymple (vocals), Luca DiVergilio (bass) and Ethan Strain (lead guitar). Their larger than life personalities have gained them a loyal following. “Stand So Close” is another gem fans are sure to enjoy.
:: Little Old Me – Lily Beau ::
Danielle Holian, Galway, Ireland
Lily Beau, a rising singer/songwriter, steps confidently into the spotlight with the release of her debut EP, Little Old Me. Known for blending personal storytelling with a variety of musical influences, Beau’s Welsh roots and diverse sound bring a fresh voice to the music scene. Teaming up with producer Nate Williams, the EP reflects the emotional journey of a young woman navigating love, self-discovery, and healing. The songs offer a mix of introspective lyrics and varied musical styles, inviting listeners to experience her world with an honest and heartfelt approach.
From the intimate piano ballad “Dream” to the upbeat, infectious energy of the title track “Little Old Me,” and the bold, empowering anthem “F* Your Expectations,” the EP highlights Beau ‘s versatility and emotional depth. Each track captures a different aspect of her experiences, seamlessly blending jazz, pop, and folk influences into a cohesive and captivating sound. Little Old Me showcases Lily Beau as a rising talent with the ability to connect deeply with her audience while exploring a wide range of musical styles.
:: “Falling” – Chasing Kites ::
Danielle Holian, Galway, Ireland
Bristol indie rock band Chasing Kites unveils a more intimate side to their music with their latest single, “Falling.” Known for their dynamic, synth-driven anthems, the band takes a step back from their usual energy to deliver a track that’s personal and reflective, yet still melodically engaging. With echoing guitar work by Liam Hope and a subdued bassline from Nathan Price, the song sets a melancholic tone from the outset. Frontman Matt Donnelly’s tender vocals pull listeners into the emotional core of the song, while James Hunt’s gentle drumming builds toward an atmospheric crescendo in the final chorus.
“Falling,” written by Donnelly in a brief moment of romantic infatuation, has since grown in meaning for the singer, evolving into a reminder of the importance of cherishing loved ones. Describing the track, Donnelly said, “It may not show the same level of classical lyrical prowess as some of our other tracks, but this one comes straight from the heart.” The song’s heartfelt simplicity, paired with its lush instrumentals and introspective tone, showcases the band’s versatility. While it marks a departure from their energetic material, the tune reveals a deeper emotional range and offers fans a glimpse into a more vulnerable side of Chasing Kites.
:: “Maybe in Another Life” – Ella Jinks ::
Mitch Mosk, Beacon, New York
It’s all too easy to let our minds wander and wonder what could have been, and Ella Jinks’ latest single is the perfect soundtrack for doing just that. A gentle, immersive blanket of unfiltered indie folk introspection, “Maybe in Another Life” is a tender emotionally charged tempest: The London-based singer/songwriter lets her imagination run wild as she contemplates what could have been, all the while knowing those thoughts are just distractions to her actual reality.
So long you’ve gone
Away from me
Caught in a moment
That’s not meant to be
Wish we knew what could’ve been
Courage save me
“‘Maybe in Another Life’ is a song about the struggle of accepting endings,” Jinks, who last released her debut EP Conversations in early 2023, tells Atwood Magazine. “It reflects how we often get lost in imagining alternate realities where things might have turned out differently, though in the end, this is just a distraction from the reality of having to let go. I wrote the song back in 2020 during lockdown, a time when all I could do was reflect, maybe a little too much.”
“The track wasn’t recorded until three years later, which gave me a lot of time to refine the sound I wanted,” she explains. “I drew a lot of inspiration from Michael Kiwanuka’s album Love And Hate, specifically his string arrangements. And a little fun fact, despite all that time spent recording the song, we ended up using the original vocal demo back from when I wrote it. While it’s not technically perfect, it captures the feelings I felt when I first wrote the song, which is something I didn’t want to lose.”
Her chorus is a sacred space where she lets her fragility and vulnerability to run wild, succumbing to the allure of those tantalizing, all-too tempting what-ifs:
Maybe in another life
Because worlds have passed between us
And the future won’t believe us
Maybe in another life
Maybe in another life
Our freedom cannot hold us
So we let the fear control us
Maybe in another life
We can soak our souls all we like in made-up scenarios that make us smile and feel good inside, but that doesn’t make them any more real – or healthy. Still, there’s comfort to be had in Ella Jinks’ music: “Maybe in Another Life” is cozy and heartwarming, relatable and honest. The singer/songwriter’s uncompromising candidness makes her songwriting all the more infectious, and while it may not be advisable to dwell in our daydreams, we can certainly dwell in her musical reverie.
Distant visions
Of you and me
There’re just illusions
I failed to reach
Wish I knew why I couldn’t speak
Courage save me
Maybe in another life
Because worlds have passed between us
And the future won’t believe us
Maybe in another life
Maybe in another life
Our freedom cannot hold us
So we let the fear control us
Maybe in another life
:: “Bloomed in Snow” – Pilar Victoria ::
Danielle Holian, Galway, Ireland
Pilar Victoria’s latest single, “Bloomed In Snow,” is a stunning showcase of her signature chillout-pop style, blending emotional vulnerability with atmospheric soundscapes. Teaming up with Grammy-winning producer Happy Perez, the Argentine-American artist has crafted a track that feels both intimate and cinematic. The song’s delicate fusion of lo-fi synths, muted beats, and Pilar’s soft, husky vocals create a melancholic yet enchanting mood, drawing listeners into its dreamy world. With its ethereal textures and lyrical depth, ‘Bloomed In Snow’ exemplifies Pilar’s ability to turn complex emotions into poignant, immersive musical experiences.
Despite being just a teenager, Pilar’s artistic maturity shines through in her songwriting and performances. Her collaboration with Perez – known for working with major artists like Halsey and Miley Cyrus – adds an extra layer of polish and refinement to the track without overshadowing her distinct sound. The track’s heartfelt theme of love and trust resonates strongly, with Pilar’s expressive vocals delivering a raw, authentic emotional core. With nearly 12 million streams to date and growing recognition in both press and radio, Pilar is undoubtedly establishing herself as one of the most promising young voices in today’s music scene.
:: “Violet” – Alas de Liona ::
Mitch Mosk, Beacon, New York
Perhaps it’s only fitting that Alas de Liona’s “Violet” feels like a dream: It was born of late-night thoughts while she was burning the midnight oil, although the Los Angeles-born, Edinburgh-based singer/songwriter wasn’t doing any sleeping – and far less dreaming. The product of restlessness, overthinking, and all those worries that keep us from our slumbers, “Violet” is a tender inner reckoning that aches inside and out as the artist bares her soul to the world through her very own brutal musical beauty.
I’m not victorious
When I am half right
Tear-eyed and glorious
In the lamplight
And you’re not hard to find
When counting sheep instead of sleeping
It’s fine
“I’ve heard people interpreting ‘Violet’ as a love song recently, which is interesting,” Liona tells Atwood Magazine. “While I suppose a romantic context can be applied, the song (to me) is about insomnia and anxiety. It’s about staying awake at night and replaying a conversation or an argument in my head again and again, obsessing and wondering about what could or should have been said. I chose the ‘da dm da’ chorus to add repetition to this process – something that happens over and over, almost nonsensically, the way those thoughts do.”
Liona’s lyrics are candid and compelling, poetic and vulnerable – drawing her audience ever-closer to her as “Violet” slowly teases itself out over three minutes’ time:
It’s very curious
The way I lose my nerve
What I am looking for
Could be a hollow word I may misstep
And then wake up in some abysmal
Night-sweat of regret
Released initially as a single in August, “Violet” features on Alas de Liona’s recently-released sophomore album Gravity of Gold, released September 13, 2024 via Deli Owner Records.
“Thematically, the song ‘Violet’ is very related to other songs on my album, Gravity of Gold, addressing anxiety, depression, and the blurry lines between hope and delusion,” she shares. “It’s about how we tell and retell ourselves these stories and can often be an unreliable narrator in our own lives.”
“That was my original design for the lyrics, but I do believe it will have different meanings to different people and those are valid. If someone hears romance it must be resonating in that way for them and that’s really lovely.”
Oh the place I know
The place I’ve been
And can’t forget
I take the stairs
Somehow I’m creeping
through a nightmare
And you’re there
Gravity of Gold is certainly worth its weight in… you know… and there is no better proof of that value than “Violet,” a visceral upheaval of the soul that arrives to the ears full of lush warmth and an enchanting, irresistible sense of dreamy, incandescent wonder.
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