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 Mk.gee, beabadoobee, Bishop Briggs, Samm Henshaw, Noga Erez, Lady Gaga & Bruno Mars, Clara Hannigan, Trace Mountains, Cairo, Beth McKenzie, Little Hag, Photocomfort, The Wattles, itsENJ, CT57, Wes Scott, The Sherlocks, Mimah, MOTHICA, Neev, and Jetsam!
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:: “Lonely Fight” – Mk.gee ::
Mitch Mosk, Beacon, New York
Those long, cold nights won’t hurt as much anymore, thanks to the sheer heat of “Lonely Fight.” Released August 23rd, Mk.gee’s first single since the release of his debut album this past February is a moody, brooding dream: A tender late-night reverie, cinematic in scope and intimate in perspective, ready to soundtrack those moments when we find ourselves alone, unsure of ourselves and where we’re headed, what we’re doing, or even who we are anymore.
She’s dancin’ ’round like nobody’s watching
She’s praying on that somebody would
Under the lonely night
Under the lonely sky
She’s breaking, shaking, hating
She’s taking no more
There’s a bittersweetness to this song that mirrors so much of what Mk.gee offered in Two Star & The Dream Police, which has been hailed (by yours truly, and several others) as one of this year’s best albums; indeed, “Lonely Fight” could very well have come from those same sessions that birthed his debut, its warm, gentle, heavy soundscape reminiscent of tracks like “Alesis,” “Are You Looking Up,” “Candy,” and “Rylee & I.”
You haven’t laughed in God knows how long
You used to cry, but no more
‘Cause only the lonely fight
It’s a lonely fight
When you’re breaking, shaking, hated
She’s taking no more
Mk.gee – the moniker for New Jersey-born singer/songwriter, music producer, and multi-instrumentalist Michael Todd Gordon – has a proven track record for making music with not just heart, but depth – music that can capture the weight of what we feel within our souls in moments of turmoil, tension, and trouble. Arriving ahead of a North American tour that kicks off September 2nd, “Lonely Fight” is another such track of unbridled humanity: A song that cuts to the core not just of its subject (whose loneliness echoes throughout the track), but also of all those listening.
She hasn’t laughed in God knows how long
She waited for him, but no more
Under the lonely night
It’s a lonely fight
When you’re shaking, taking
Hating, when you’re breaking hearts
:: “Beaches” – Beabadoobee ::
Julia Dzurillay, New Jersey
It’s the 1990s-inspired “4 chord” anthem of our dreams. When Beabadoobee released This Is How Tomorrow Moves, she included the rock-leaning original “Beaches.” This track, written primarily by the alt-indie singer, is a sweet combination of Beabadoobee’s old fan-favorites and a fresh, mature era.
In fact, performing “Beaches” live helped the artist feel as though her “dreams were coming true,” according to a tweet. The lyrics are understandably personal and emotional, encouraging listeners to enjoy each day instead of waiting for the perfect days.
“‘Cause days blend to one whеn I’m on the right beaches, And the walls painted white, they tell me all the secrets,” Beabadoobee sings in the chorus. “Don’t wait for the tide just to dip both your feet in. Cause I’m sure now, I’m sure.”
:: “Mona Lisa on a Mattress” – Bishop Briggs ::
Mitch Mosk, Beacon, New York
There’s an undeniable heat roaring throughout Bishop Briggs’ latest single – a song whose weight and warmth make it is as irresistible as it is utterly intoxicating. Romance can be ever so dreamy – or in this case, nightmarish; as the artist her sings, “Dancing, screaming secrets in the dark. Hell is knowing that you’re perfect just the way you are,” we feel her unlocking a pain that has for so long lay dormant, undisturbed and untouched – forgotten, but not gone from her heart and soul.
Dancing, screaming secrets in the dark
Hell is knowing that you’re perfect just the way you are
Is it crazy how we’d go and do it all again
Knowing we were done before we ever had a chance?
Cigarettes and colors in the sky
Little non-committal in the middle of July
‘Cause I was dating someone who just didn’t understand
It’s like you knew me before I walked in
I want you to knock my lights out
Kiss me so hard ’til we pass out
Bite on your lip, blood in my mouth
Just want to feel something like right now, right now
Released August 16th, “Mona Lisa on a Mattress” is a seductive, searing anthem of passion, desire, and toxicity: Of being caught up in the rush of what we think is love, only to realize later on that it’s something much shallower, less meaningful, and far less special. The dramatic, impassioned lead single off her forthcoming third album Tell My Therapist I’m Fine (out October 18, 2024 via Virgin Records) sees Bishop Briggs – the moniker for Los Angeles-based Sarah Grace McLaughlin – unveiling her innermost self in an act that itself feels deeply therapeutic – so much more meaningful for her than we, her audience, can ever possibly imagine. Intimate, candid lyrics find the artist carefully piecing apart and reexamining an old, once-upon-a-time flame – and realizing, in the process, that this relationship hurt her in more ways than she knew at the time:
Didn’t wanna see what was undеrneath
All of the warning signs, my heart was blind
Katе would always say I should run away
But I made up my mind
Her energy level hits a provocative high in an emotionally charged chorus lunging toward instant gratification – oh, to be young and dumb and prioritize short-term gains despite their long-term losses. We’ve all been there, and we all feel the intensity of Briggs’ words as she lets loose a flood of visceral feeling:
I want you to knock my lights out
Kiss me so hard ’til we pass out
Bite on your lip, blood in my mouth
Just want to feel something like right now, right now
“‘Mona Lisa on a Mattress’ is about a messy, sexy, toxic relationship I fell hopelessly into. I wrote it with one of my close friends, Jack LaFrantz, who helped me laugh my way through this chapter of girlhood I hadn’t quite unpacked,” Briggs tells Atwood Magazine.
“It’s about the difficult realization that perhaps someone only likes the glittery parts of you. It’s the parts of yourself that you yourself can feel quite fond of too. The good can feel so good but it’s only because the bad feels so bad. I found myself in this relationship many moons ago and have never looked back until writing this song.”
We feel the turmoil in Briggs raging; it pours out of her in spades as she channels that heavy tension into her art.
You say I’m pretty like an actress
You’re Mona Lisa on a mattress
Want you light up a million matches
Burn out my heart until it’s ashes, ashes
Funny how, when closed doors open, we tend to find something new – something we hadn’t seen before. “Mona Lisa on a Mattress” certainly isn’t intended as a rallying cry for therapy – it’s much better used as an anthem for feverish, sweaty, unapologetic intimacy – and yet, when we step back and really listen to Bishop Briggs’ lyrics, we can’t help but appreciate the importance of self-reflection, of cognitive behavioral therapy, and of talking through your problems – be it with a licensed professional, or even just a friend.
I lost all my innocence, learning how to love again
We were done before we started
Didn’t wanna be just friends, I just wanted love again
I want you to knock my lights out
Kiss me so hard ’til we pass out
Bite on your lip, your blood in my mouth
Just want to feel something like right now, right now
:: For Someone Somewhere Who Isn’t Us – Samm Henshaw ::
Rachel Leong, France
Since our interview with Samm Henshaw earlier this year, we’ve been eagerly waiting for his announcement for new music. When we last spoke, Henshaw had just dropped his very first Afrobeats song, taking a turn from his usual R&B material. A few weeks ago, the artist dropped his newest mini album, For Someone Somewhere Who Isn’t Us, an experimental project wrapped up in reflection, conversation and inspiration.
For Someone Somewhere Who Isn’t Us basks in a timeless R&B sound, as Henshaw draws this time from the stories of others, rather than those of the self. He quotes the devotional, “your gift was not made for you, it was made to serve others”, and what arrives as a result is a shift in lyrical tonalities: six meticulously crafted tracks, each excelling in its storytelling by its own right, all led by Henshaw’s distinctive vocals. He shares that the album is pieced together from a perspective outside of his own, and arrives as a result of inquiry of other stories in other walks of life. Henshaw’s music has begun to lead with this musical philosophy of late, and his curious creativity stems from lyrical experimentation and musical expansiveness.
:: “GODMOTHER” – Noga Erez ft. Eden Ben Zaken ::
Christine Buckley, Connecticut
I first saw Noga Erez in Sept. 2022, when she opened for Florence and the Machine at Madison Square Garden. This tiny woman with a big dark-haired bun gave the audience a few sly looks and launched into her hardy vocal delivery that had us all first blinking then whooping. She’d just that day released a collab with Missy Elliot, “Nails,” and the hook “I’ll bump a bitch / Flesh pieces in my nails” took little time to get screamed through the whole arena.
Her newest release “GODMOTHER” is rhythmic piece of well-wrapped candy with its deep bass slides and boom-bap drums, but lyrically and vocally it’s a vulnerable, agonizing reflection on what it’s like to be Israeli right now, watching your country’s military kill tens of thousands of innocent people.
Wait for it, maybe, they’ll come around, I’m not sure
Wait for my signal, I know we’ll board the same shore
Stay with me, baby, I know America’s far
Safe with me, baby, I know we pray the same god
Pray for the moment we get to put away guns
Pray for the parents, and Paris, devil, long gone
Wait for their blessing of me, I keep on forgetting
They tear up faces in campuses, burn the flag, and I’m torn
Over sweeping, melancholy strings and church bells, one can glean that Erez and Eden Ben Zaken’s homeland of Israel is likely the Godmother, perpetuating murders upon murders without care or thought. Ben Zaken’s despondent chorus wails: “I beg you not to leave me on my own / I swear that I loved you all along.” Perhaps this is their plea to the rest of the world, to help them through this time; or to their own (god)mother land, describing their fraught, shattered love of their country. Catch Erez’s sure-to-be-fabullus album The Vandalist out Sept. 20.
:: “Die With a Smile” – Lady Gaga & Bruno Mars ::
Josh Weiner, Washington DC
Weary old man that I am today, there are only so many music artists who first came out way back when I was in high school that are still around making hits today. It’s especially rare and remarkable, I find, to have two of them together on the same track. But Lady Gaga and Bruno Mars have just pulled off just that – they first emerged in my 11th/12th grade days, with smashes like “Nothin’ on You” and “Poker Face,” and now, all these years later, have finally teamed up for their debut collaboration, “Die With a Smile.”
I have plenty of nostalgic affection for both artists, but even setting that aside, I find that they both remain very vocally impressive and complement each other oh, so well on “Die With a Smile.” When they join each other in singing, “If the world was over, I’d wanna be next to you,” the mutual tenderness really shines through. The soft rock instrumental they’ve chosen is reminiscent enough of tracks they’ve both appeared on before and thus fits their own styles very fluidly. All considered, Lady Gaga and Bruno Mars’ first-ever duet succeeds on many crucial levels and leaves me hungry and hopeful for more tunes from both of these superstars– each of whom was on a bit of a hiatus from new music until just now.
:: “Parentheses” – Clara Hannigan ::
Danielle Holian, Galway, Ireland
Clara Hannigan has debuted her music video for “Parentheses,” showcasing a genre-blending tune that perfectly complements her soulful voice. Hailing from Maine, this rising star is carving out a niche in the music industry with a sound uniquely her own, drawing on influences from legendary artists like Amy Winehouse, Ray Charles, and contemporary powerhouse SZA. These diverse inspirations have coalesced into a signature style that fuses jazz, soul, and contemporary pop, creating a sound that is both nostalgic and refreshingly modern.
Hannigan is quickly establishing herself as a versatile music artist, demonstrating a remarkable ability to traverse different musical landscapes. Her work reflects a deep understanding of the genres she draws from, seamlessly blending them to create something entirely new. Her music is a dynamic exploration of emotion and sound, where the boundaries between jazz, soul, and pop are fluid, allowing her to express a wide range of sentiments and experiences.
The song “Parentheses” and its accompanying visuals deliver the depth and intentionality that have become hallmarks of Hannigan’s work. Her music is a testament to the power of authenticity, as she continues to push the boundaries of genre while remaining true to her artistic vision. Hannigan’s willingness to explore different styles without being confined to one shows her commitment to innovation and her desire to connect with listeners on a profound level, making her a standout in today’s music scene.
:: “In a Dream” – Trace Mountains ::
Mitch Mosk, Beacon, New York
It was a bold move for Trace Mountains’ Dave Benton to introduce his fourth studio album with a seven-and-a-half-minute song, but big risks make big rewards – and there’s no quantifying the emotional, cathartic payoff for listening to “In a Dream” in full. As intimate and intense as it is warm and wondrous, the lead single off Into the Burning Blue (out September 27th via Lame-O Records) is a cathartic, hard-hitting, groovy, and gut-wrenching outpouring of raw vulnerability and provocative perspective:
late night bike ride
sweat drips down through your helmet
world burns take turns
leading on through the humid velvet
night time ride
you’re IN A DREAM
and you don’t know what the f* it means
you’re coming clean
the open heart ain’t the way it seemed
“From the start of the record-making process, Craig Hendrix (Japanese Breakfast) and I envisioned ‘In A Dream’ as the opening track,” Benton tells Atwood Magazine. “On an album that is largely auto-biographical and very personal in nature, it felt vital to begin in a place with a bit of worldview. Especially now, in an election year in the US, I think it’s meaningful to acknowledge the state-inflicted suffering and denial of life that happens here and all over the world. There are so many kinds of Dreams, some are nightmares, some are fantasies, some are very real hopes for one’s future. With ‘In a Dream,’ I wanted to explore the universal idea of dreams – the ones that come at night and the day, what they mean, and who gets to have them.”
“When I was writing ‘In a Dream’ I was listening to so much of Bruce Springsteen’s 1987 album Tunnel of Love and I had also just watched David Lynch’s thriller Blue Velvet,” he adds. “I think those two influences really stewed together in my brain, Springsteen’s heartbreak mojo clashing with this surreal, dark and dreamlike scenery. Eventually the song came out as a confluence of the two… I was really lucky to workshop some of the lyrics and song structure with my partner who gave me some great ideas and feedback that really helped shape the back half of the song.”
Not so much an eruption as it is a slow burn, “In a Dream” sets the tone for Trace Mountains’ upcoming album, with radiant, sun-kissed melodies (recalling some of The Killers’ softer work) and propulsive beats accompanying Benton’s expressive, impassioned voice as he opens his heart and soul to the world. “In a Dream” is on the one hand an unfiltered display of the artist’s humanity, and on the other, a charming, churning outpouring of angst and anxiety; and truly, the only way to appreciate just how beautiful a song this is, is to hear the full thing for yourself. I come away from this song feeling like I’ve got more questions than I do answers, and yet there’s no mistaking the sense of catharsis Benton imbues in the ears and the soul; in short, should you take that seven-minute ride down some dusty dirt road with him, there’s no telling what you might find on the other side.
US progress, what’s your name boy
i want you to see this
short fuse true blue
blanketed in the utter madness
drifting on
you’re in a dream
you feel the world busting at its seams
you’re coming clean
but you don’t know what the f* it means
:: “Double Love” – Cairo ::
Mitch Mosk, Beacon, New York
Few debut singles can claim to be as emphatic, as soulful, or as emotionally charged as “Double Love.” Released August 14th via Cascine, the first-ever song from North London born-and-bred artist Cairo is a seductive and stirring outpouring that could only come from a heavy, brooding heart. While some artists come to us in the midst of their own development, arrives Cairo fully formed, sharing so much of who he is and what his music can be in three minutes of unfiltered songwriting and uninhibited self-expression.
“Double Love” is the lead single off the artist’s forthcoming debut EP of the same name – a name that plays off the term “down low.” The abbreviation “DL” is used “by the Black and Brown queer community to refer to a man who is still in the closet fighting their sexuality,” the artist explains; it’s a topic near and dear to his heart (unfortunately), and in “Double Love,” he lets go and sings all those things he’s no doubt held his tongue about in the past.
Sister, I know your mister,
what we gots far from compleat
cause he walks all over me
just listen,
when he’s gone for the weekend
he comes right back down to me
with some new tricks up his sleeve
girl, the grass is way greener
don’t you worry
I’m just as wrecked as you
“‘Double Love’ talks about my disdain for secret relationships and men that aren’t fully ‘out the closet,’” Cairo tells Atwood Magazine. “This topic was the main inspiration for the track, for it’s a pressing issue in my life and so many others. I thought it would be pretty interesting to talk about something a lot of people are unaware of, but at the same time extremely relatable and relevant to folk in my community. The title plays on a familiar abbreviation, ‘DL’ (Down Low) which is used to distinguish a ‘straight acting/ closeted man,’ a kind of man I’ve only ever experienced when it comes to love and relationships.”
“When I was at the session and heard the boys play these rock-soul/ Pop-RnB style chords, I instantly went to my Notes app for some inspiration when I saw the title ‘Double Love’ and a light bulb lit up,” he continues. “The song honestly wrote itself.”
The song’s chorus is as cathartic as it is irresistibly catchy and all-consuming, with Cairo bringing it all home and highlighting why this topic is so salient, and so painful – and important to talk about – for him:
I’m so tired of
all that double love
why you doubled dutch on me
cause its f*ed up
so polygamous
Double Love ain’t for me
hidden but regular
Subtle but muscular
wish you could claim your role
wish you could hold me close
just f* Double Love
Cairo packs his intimate, emotive lyrics with beautifully raw feeling, but what ultimately makes the full sell is the dreamy world he and producer Jonah (@jjonah___) create together.
“At the time I was listening to The Carters’ Everything Is Love album, which was one of the production references I gave Jonah,” Cairo recalls. “I was influenced by Beyoncé’s ability to sing a clean vocal line and follow it up with an insane rap flow. I used my clean vocal line to address the ‘sister,’ and I used my shady rap flow to address the ‘Mr.’ I think I pulled it off! I enjoyed writing and recording this song with Jonah and Brad Palmer, it was such a pleasure working with them on such a beautiful song!”
Mr, don’t call me when your with her
she can tell you miss him but
I’ma need my distance
cuz you ain’t got no disaplin
I don’t want yo benjamins
cant buy me like yo firends and them
do they know you feminine
I’ma get my bag up
shake dis sad off
throw a tantrum
find someone handsome
hold him in for ransoms
you know I like it nasty
Cairo keep it classy
but he just such a fan of me
the grass is way green
A truly smoldering seduction, “Double Love” is an instantly memorable introduction to an artist we cannot wait to hear more from soon. Keep an eye out for Cairo’s Double Love EP, dropping later this year, and for now get lost in the heat, and the heartache, of this soulful, melancholic reverie.
:: “She’s Finally Lost It!” – Beth McKenzie ::
Joe Beer, Surrey, UK
British alt/indie pop artist Beth McKenzie has just dropped her new single “She’s Finally Lost It!” giving us an intimate look into some of her most vulnerable moments. As she reflects on a dark time of her life, when she battled with power abuse in the music industry, she struggled to distinguish reality from illusion, leading her to question her own sanity. McKenzie opens up, sharing, “I went from being promised the earth to being manipulated and controlled by someone.”
Out of this painful and tumultuous time, the one good thing to emerge was her new single “She’s Finally Lost It!” Despite the heavy themes, it’s an upbeat, dance-worthy track that allows McKenzie to reclaim some of the power that was taken from her. The songwriter shares, “The lyrics came easily but, at first, musically the song was very dark and sombre, and it just didn’t work. My producer and I decided on a radical change and created an upbeat, edgy sound that captures the sheer insanity of the whole situation.”
With vocals reminiscent of Lily Allen and vibrant melodies akin to Chappell Roan, McKenzie channels a ‘00s British pop sound infused with bold Gen Z realness. “She’s Finally Lost It!” is the second track from her upcoming EP which is due later this year. As she sets the bar high, we can only imagine what else she has in store for us!
:: “Suck Out the Pain” – Little Hag ::
Mitch Mosk, Beacon, New York
We can never go “back” to our pasts, but sometimes our dreams let us visit that which once was – and while it’s sweet to be reunited with our former lives (and sometimes, loves) for a time, the wakeup can be bruising, if not painfully bitter.
Still, that brief, imagined reunion is a magical thing – often making an impression so powerful that it changes how we feel, how we act, and how we live our lives I the present. For Little Hag’s Avery Mandeville, one such jaunt down memory lane opened the floodgates and soaked her to the bone, inspiring not just a song, but a visceral inner shift. The finale to Little Hag’s third album, “Suck Out the Pain” is an achingly raw, emotionally charged alt-rock anthem drenched in nostalgia, yearning, and thick, heavy overdriven electric guitars. It’s a song of dreams, of old flames, and of never letting go of our former selves – because you never know when you might need them again!
I had this dream
She had 4 rows of teeth
She bit my arm off clean
I was so scared but so happy
Her little bangs
Have pushed me to the brink
Won’t somebody come quick
And just Eternal Sunshine me?
Let’s play a game
Stick a straw into my temporal lobe
Suck out the pain
Of remembering you and me alone
“‘Suck Out the Pain’ was one of those songs that wrote itself in 15 minutes,” Avery Mandeville tells Atwood Magazine. “I hummed the verse melody into a voice memo (which according to my phone was April 23rd, 2022) before I had a concept for the song. I thought about it and then forgot it. A week later I fell asleep watching Jersey Shore, the episode where Snooki and Deena are wasted and making out for hours in Italy. I dreamed about a girl I used to have a huge thing for going down on me with four rows of teeth like a shark. It was hot and scary, and when I woke up, I was just on the couch in my boyfriend’s apartment. I think this triggered a profound longing for ‘the before times’ because, though they were fun, I had also romanticized them beyond reality.”
“The truth was that I was bartending and drinking too much and living at my mom’s house, and this brief fling felt so magical and effortless inside of all that. I remembered the huge gay feeling of walking to my car in the morning after the first night we kissed and feeling almost manic, like God was real and this was proof and He really had my back. I would look at pictures of us on my phone and feel sad that I’d never be gay again (untrue), despite being really happy in my relationship with a man at the time. So I think it’s normal to want a lobotomy sometimes from the things that you’ve blown out of proportion when they hold you hostage. Or maybe that’s just being a Cancer.”
Awake at dawn
Walking back to my car
I felt like God was real
God’s real and He really loves me
Now I’m in bed
Turn on my time machine
Scrolling deep in receipts
Of everywhere we’ve ever been
Released August 23 via Bar/None Records, Now That’s What I Call Little Hag is a spectacular LP showcasing the musical depth and scope of Asbury Park, New Jersey’s self-proclaimed “bitch rockers.” Since their inception in 2016, Little Hag introduced have approached their art with an unapologetic and uncompromising mentality; the band today finds Mandeville joined by guitarist Matt Fernicola, drummer Owen Flanagan, bassist Mitchell Warren-Devlin, and keyboardist/vocalist Cara Introcaso. Following 2020’s debut LP Whatever Happened to Avery Jane? and 2021’s follow-up Leash, Now That’s What I Call Little Hag is the product of collaborations across eight different producers and studio – and while “alternative” is a nice, relatively non-descript umbrella word for the band’s music, this album in particular offers a tantalizing, impressively cohesive mixture of what Mandeville calls “punk rock bangers, deep disco dives, torch songs, folk ballads, and more.”
“Suck Out the Pain” ties up the record with a cathartic, all-consuming barrage of sweltering hot rock. It’s the sweaty, spirit-lifting fever dream every great album closer longs to be, and it essentially ensures Little Hag go out on their own terms.
Let’s play a game
Hold me close and never let me go, yeah
Times sure have changed
It will never be you and me alone
I had this dream
She had 4 rows of teeth
She bit my arm off clean
I was so scared but so happy
:: “Roll” – Photocomfort ::
Chloe Robinson, California
We all know the expression, “If you love something let it go.” Photocomfort’s warm experimental pop track “Roll” applies that concept to a friendship. She stunningly sings of caring for a friend so deeply that she had to let that person free to evolve and grow. Many can relate, making this intimate piece so personal. The music video leaves viewers on edge with its simple yet highly thrilling visuals.
The moniker for Boston-based artist Justine Bowe, Photocomfort is inspired by prominent ’90s talents like Alanis Morissette and Dido. She creates carefully crafted music that is infectious and comforting making the name Photocomfort so fitting. This offering is another one that is simply irresistible.
:: “Fooled” – The Wattles ::
Rachel Leong, France
Sydney-bred, London-based band, The Wattles, have arrived with their latest, “Fooled.” A cinematic soundscape of rock blends and forthcoming vocals, the female-fronted band questions the current state of affairs in their music. “Fooled” is a rumination on the frustrations and reflexivities of the social media era, and mirroring the endless black hole of social media, the haunting melodic quality of the track lingers with the listener long after the track ends.
Dramatic running keys underpin the project as rock guitars surface and explode in the chorus, as front woman Lucy Murray delivers emotive lyricism with an unwavering strength. From screeching guitars that echo in the background to vocalisations that push the track forward, The Wattles demonstrate a dynamism that translates perfectly to video. The accompanying music video for “Fooled” is a black-and-white film piece shot in South London, capturing the essences of inescapability and restlessness. Against a backdrop of social commentary, the project simultaneously resonates with a powerful message.
:: “AÑURIKA” – itsENJ ::
Josh Weiner, Washington DC
Having just been lucky enough to attend the 2020 Olympics in Paris, I got exposed to bits and pieces of just about every country in the world this summer. One of them was Nigeria, whose women’s basketball team I was able to see play against France at a match up in Lille. That cool experience, coupled with all of the Los Angeles-themed music and imagery from the Closing Ceremony– when, per tradition, the current host country paid homage to the next one– definitely puts me in the mood for some Nigeria-meets-Los-Angeles tunes. And that is exactly what itsENJ – an L.A.-based band originally from the city of Enugu – provides.
Consisting of brothers “Chimdi and Otito,” the group goes by a name that’s short for “it’s energy,” which is precisely what they’ve infused into their music ever since they first got things going in 2017 with their first single, “Celine’s Song.” Their newest release, the 5-track EP Añurika, channels much of their West African musical heritage– even more than usual, it seems, perhaps because they recorded it primarily in Lagos– while also making room for some Caribbean and Latin influences– fittingly enough, now that they are living on this side of the Atlantic. The results are wonderfully absorbing, while the cheery lyrical themes– to enjoy life, and to find “nakupenda” (or “I love you” in Swahili)– grant the music plenty of levity and color.
We’ve been fueled by a desire to push boundaries, and embrace our native language and sounds, which has shaped this project,” itsENJ says of their latest EP. “‘Añurika’ is joy, it is a journey, it is love, it is unity. It is a celebration of our identity and an invitation to all to join us in this musical adventure.” That’s one invitation that I encourage everyone to accept without question!
:: 核雪 – CT57 ::
Frederick Bloy, London, England
I do not wish to sound like a broken record by repeatedly advocating for enchanting electronic releases that could be classified under the still ‘not crowded’ umbrella of deathdream. However, a broken record is exactly what a majority of that music sounds like – in a good way. I am in fact a much more varied listener; I do endeavour to listen to as broad a spectrum of music as I can traverse. However, in another instance of tepid coincidence, deathdream is a hub of musical references in of itself. Where else but on such a release could you find the most barren, eerie of soundscapes at one turn, before being stumped by the distant echoes of ‘Lara’s Theme’ by Maurice Farre, from the soundtrack to Dr. Zhivago, cloyed, effulgent, and resonating out from an indistinguishable source somewhere in the distance?
核雪 is, to me, CT57’s standout release. I am not tethered to the term ‘deathdream’. I find that dark ambient can occasionally be a superior descriptor, ‘broken transmission’ even more so. Not merely because it is a music of looped, skittish, skipping, degraded samples, suffocating over inactive airwaves, drowning before they reach any recipient with reliable fidelity. It also is a descriptor that compliments the music with another layer of ghostliness. Who is making the transmission? Why are we hearing it? Was it ever intended for us? What is its purpose anyway; a warning? Its being broken is inevitably a cause for alarm.
核雪 is a worthy member of the broken transmission brotherhood. Blizzards have rendered messages indistinct. Where they might have provided warmth, they effulge in the distance, poltergeists glowing through myriads of snowflakes. Thrumming tracks of seemingly more serious tones are even more indecipherable, their bulletins well and truly lost. Whether or not we survive this snowscape is a mystery, but we can trek through otherwise, the phantoms of songs we barely remember hopefully enough to keep us from hypothermia. Perhaps if we continue on just that bit further, we might find where these messages are emanating from. What’s that through the blizzard? A building? A tower? The faintest of lights?
:: “Rough Start” – Wes Scott ::
Julius Robinson, California
There is a saying that goes “Honesty is the best policy.” Wes Scott’s “Rough Start” is a true testament to that. The dreamy pop track details deceit in relationships when people are withholding a truth. Pure authenticity is the best in these situations as the lie can eat away at you, haunting the rest of the partnership. The song is upbeat and catchy with its bouncing percussion.
Wes Scott is a Long Island indie-pop artist with a hint of alternative. Scott is a highly skillful storyteller and his lyrics truly convey his intense passion. He loves a good superhero flick and even crafted a song titled as such. “Rough Start” has those vibes as well. While listening you can almost picture a man in a cape whizzing through the air.
:: “Death of Me” – The Sherlocks ::
Mitch Mosk, Beacon, New York
There’s nothing like a larger-than-life indie rock anthem to make us feel invincible; to not just capture the spirit of our youth, but to channel that visceral, beautiful energy and emotion from the air, into our ears, and deep down into our souls. It’s how I feel to this day every time I hear “Mr. Brightside,” and I swear The Sherlocks must have taken a cue or two from The Killers’ playbook when the Yorkshire band, now ten years into a successful career of their own, recorded their latest single. Dramatic, dynamic, and utterly all-consuming, “Death of Me” is a seductive eruption of passion inviting us to take life by the reins and ride that roller-coaster for as long as possible; to hold on tight to the people who make life worth living, and lean into those things that make you feel alive.
It’s hanging over my head
And driving me into the ground
Waking up on the wrong side of bed
Then it’s following me around
In the middle of nowhere again
And I can’t hear a sound
As I wait for the pin drop to fall
Will it all come crashing down
I’ll wait for you
Released May 31st via TeddyBoy Records, “Death of Me” is The Sherlocks’ first song of the year following last August’s fourth album People Like Me & You and the release of their first live album, Live at Sheffield (recorded at Sheffield’s O2 Academy), this past March. Formed in 2010 and releasing music since 2014, The Sherlocks are one of Northern England’s finest indie rock exports, with a fiery, searing alternative/indie rock sound and a formidable treasure trove of hard-hitting hits in their now decade-strong catalog. Hailing from South Yorkshire, the band of Kiaran Crook (lead vocals, guitar), Brandon Crook (drums), Alex Procter (guitar), and Trent Jackson (bass) are still very much in their heyday, growing a bigger following each year, pushing themselves with every record they put out and every tour they embark on.
“Death of Me” is a particularly special addition to The Sherlocks’ catalog as they imbue their vibrant guitar-driven indie rock with a bit of that new wave and synth-pop sound that once made The Killers’ Hot Fuss so unforgettable. It’s that magic musical touch that we also hear in bands like Walk the Moon and Neon Trees, who have found their own paths to critical acclaim over the years.
“This song is a pure sing-a-long anthem, made for the big outdoor gigs and festivals,” The Sherlocks’ drummer Brandon Crook smiles. “We feel like we’ve taken another huge leap forward sonically. The whole tune feels youthful and uplifting. Can’t wait to play this one live for everyone!”
There’s no denying this song’s cinematic, infectiously charge; from the moment Crook’s sticks crash down on his drum set, the whole band let loose in a flood of roaring riffs and a glistening melodies. They hit a critical climax in the chorus as vocalist / guitarist Kiaran Crook (brother of Brandon) lets his voice fly, singing:
Golden moments,
That me and you will never get back
You’re insecure, you wanted more
Now darling I can see
Why you’ll be the death of me
“‘Death of Me’ is a song that fell into our hands really quickly, and I remember being really excited about it and wanting to demo it straight away,” Kiaran Crook tells Atwood Magazine. “All the parts just seem to come together, and it felt like we were going somewhere different with it, like turning a corner we’d never been around before. When I played it to the rest of the lads, they all loved it, and it’s the one that started the recording sessions. As soon as we got it down, we knew we wanted that track to be the first thing we share with people, and the reaction has honestly been incredible. Probably the best reaction we’ve ever had to one of our songs!”
“This feels like the freshest thing we’ve done in a while, in the sense that we know we can write and record rock ‘n’ roll tunes no problem, and don’t get me wrong, we love doing that! But this song came about and immediately felt different, almost like it wasn’t crying out for guitars quite as much. We gave the song a minimalistic approach in many ways, and I think it ended up sounding like nothing we’ve done before because of that.”
Are you hanging on by a thread?
Or are you pulling the wool over me?
Why are we sitting pretty in the harbour?
We should try our luck on the sea
Yeah, we’ll set off early in the morning
Now it’s just gone 12:15
Will we ever change and do we have to?
So long as we are making sure we’re living for
All of these golden moments,
That me and you will never get back
You’re insecure, you wanted more
Now darling I can see
Why you’ll be the death of me
“Death of Me” is smile-inducing and unrelenting: An inspiring three-and-a-half-minute revelry that reminds us just how great life can be when it’s at its best. That The Sherlocks can give us that freedom – that blissful escape – is a testament to their talents as songwriting and as recording artists; quite frankly, we can’t wait to hear what their second decade will have in store, because if this is how it’s starting off, there’s surely more magic to come!
All of these golden moments
We’ll never get back
Yeah, I’ll always hold these moments
Forever, this light always shines for you
All of these golden moments,
That me and you will never get back
You’re insecure, you wanted more
Now darling I can see
Why you’ll be the death of me
:: “End Up Without” – Mimah ::
Danielle Holian, Galway, Ireland
Mimah has returned with “End Up Without,” a moody electronic dance track with pop-infused vocals. Produced by the renowned KAEY, this single promises to resonate deeply with listeners while showcasing Mimah’s artistic development.
“End Up Without” is a prime example of Mimah’s unique songwriting prowess. The rising pop sensation explores themes of personal evolution and the process of leaving an old self behind in pursuit of growth, blending catchy melodies with allusions to important events and figures that have shaped her career.
In an ever-changing music industry, Mimah demonstrates that she possesses the skill, imagination, and determination to not only stay ahead of the curve but also pave the path. “End Up Without” is a statement of Mimah’s evolving artistic identity and a sneak peek at what’s to come.
:: “Afterlife” – Mothica ::
Chloe Robinson, California
Sometimes we feel like we are not fully taking advantage of all life has to offer. Oftentimes mindlessly going through the motions just waiting for the day to be over. Mothica reminds listeners to live life to the fullest with her bass-driven banger “Afterlife,” taken off her brand new album, Kissing Death. Her syrupy, sultry vocals glide atop the static soundscape and you are locked in. She reveals, “Afterlife is written from the perspective of the Grim Reaper himself, kind of mocking me in this way of saying all the things he’d do if he was alive. He taunts that he’d live life to the fullest, while scolding me for letting my life slip away like sand.”
The Oklahoma born, Brooklyn-based artist possesses a DIY style that is dark and daring. She often shines light on uncomfortable topics such as death, depression and addiction. In 2020, her song “Buzzkill” about sexual assault obtained over 51 million Spotify streams. Since then she has kept the swift momentum going. “Afterlife” is equally as intoxicating, and one of twelve stunning tracks off Mothica’s newly released LP, Kissing Death.
:: “Dianne” – Neev ::
Mitch Mosk, Beacon, New York
Relationships are, and forever will be, more than meets the eye.
We’ll never have the full depth and color of another relationship when we’re on the outside looking in, but we can still make inferences based on what we see and what we know. Yes, they’re judgments, and yes, you’re not supposed to jump to conclusions when you don’t have all the facts; somewhere in the back of my mind, a little voice is repeating the phrase “innocent before proven guilty” on repeat.
But we also have a responsibility to trust our guts and act on instinct when the moment calls for it, and for Scottish singer/songwriter Neev, the hour is nigh – and she made her thoughts and feelings heard the way she does best. Released May 21, 2024 via Cambridgeshire-based indie label Trapped Animal Records, “Dianne” is a heartfelt song for a friend in rough shape; an outstretched hand soaked in warm folk sound; an invitation to pull the wool off our eyes and see people for what they really are, rather than what we want them to be.
Because sometimes, we’re not alright, and we don’t know how to say it. Often we need a Neev in our lives, to spell things out for us and express the cold, hard truths we’re unwilling to admit for ourselves.
You build him everyday
A man softer than clay
He blur in the dark, misshapen
The softer focus was no mistake
That’s what you do Dianne,
to craft a man that doesn’t hurt you
That’s what you present to your friends
a man, a man with virtues
That I don’t think he has, Dianne
I don’t think he has, Dianne
“I’ve wanted to write ‘Dianne’ for a long time,” Neev says. “It’s about seeing a friend in a bad relationship from the outside, and it’s mainly about the power of denial and what that can do to yourself and the people around you when you’re dishonest about the life you’re living and who you’re living it with.”
“It’s always hard seeing relationships and dynamics like that at play from the outside. Do you just keep being supportive despite the situation, or do you say something? The song investigates that struggle, I suppose. I don’t think it answers any questions.”
It made us so ashamed
We give friends a bad name
But how were we to know
He was ideal, the perfect go-to man
With softer hands
than those that came before him,
you adored him and
You told us stories, made us feel like you
Always had a happy glow
but now we know
That’s what you do Dianne,
to craft a man that doesn’t hurt you
That’s what you present to your friends
a man, a man with virtues
That I don’t think he has, Diane
I don’t think he has, Diane
May we never find ourselves in Dianne’s situation, but if we do, I hope we’ve got a friend like Neev who is brave enough and bold enough to say hard truths. This is the kind of song that can end a friendship, but it’s also the kind of song that can save someone. Is it worth it to sit idly by when you feel a friend is struggling, or do you speak up? With “Dianne,” Neev inspires us to be an active participant; to be the change we want to see; to be a real friend to our loved ones, and not just in fair weather, but through all the storms as well.
That’s what you do Dianne,
to craft a man that doesn’t hurt you
That’s what you present to yourself
a man, a man that loves you
But I don’t think he can, Dianne
I don’t think he can, Dianne
I don’t think he can
Dianne
:: Powerviolence Is for Lovers – Jetsam ::
Oliver Crook, Montreal
If you’re looking for a midsummer blast of powerviolence with a heavy dose of anti-fascism, gender fluidity and caustic vocals, then Montreal’s Jetsam may be for you. Not for the faint of heart, their EP Powerviolence Is for Lovers is designed to grab your attention and never let go, all the while violently shaking.
Across its five songs — the perfect length for an album this bombastic — the three-piece are relentless, making you want to turn your living room into a mosh pit. If you’re looking for new hardcore with a message and a pounding beat, then Jetsam are going to be your favourite new band.
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