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 AWOLNATION, John Vincent III, St. Lucia, blondestandard, Still Blue, Sketchdoll, Freya McKee, ASH, Maya Delilah, Gregory Dillon, lots of hands, Emmeline, Sleek Teeth, DILAN SKIES, Adelide, & remote!
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:: The Phantom Five – AWOLNATION ::
Christine Buckley, Connecticut
For months I’ve been looking forward to AWOLNATION’s The Phantom Five with a bittersweet trepidation, because Aaron Bruno slid into a few interviews that the upcoming album would be his last as AWOLNATION. Yet like the end of any good movie that wants a sequel, Bruno’s left his options open, saying in a reel that it’s his last album… “maybe.” He recently launched the hardcore project Barbarians of California with his longtime friend, producer Eric Stenman, and AWOL bandmates Isaac Carpenter and Zack Irons, so we haven’t seen the last of Bruno. But…I sure will miss AWOL. His songwriting has always been so top-notch, and AWOL’s pop-electronica sensibilities layered over hardcore roots with a daub of ’50s surf rock has always struck me as so different than anything else.
The Phantom Five has already delivered with its singles: The charming, acoustic retrospective “Panoramic View;” the heavy “Jump, Sit, Stand, March” featuring expert screaming by Bruno and collaborator Emily Armstrong of Dead Sara; the hip-hoppy “I Am Happy” with Del the Funky Homosapien; and today’s “Barbarian”, complete with a tongue-in-cheek music video homage to Chris Isaak’s “Wicked Game.”
The final track is the ultimate in sadhappy endings: “Outta Here” gives The Cars’ “Who’s Gonna Drive You Home” before turning bleak on the chorus, as Bruno tells us:
And nothing can save you
I swallowed an atomic bomb
And nothing can save you
And now they wanna drink your blood
And nothing can save you
Bruno’s songs have always worked the ends of emotion, dealing with euphoria and romance in equal measure as fear and rage. It’s fitting, then, that he’s ended on this intense note, telling us, “In a couple of seconds man, I’ll be outta here.” So goodbye, AWOL. I’ll always love you. Until next time?
:: “Never, No Not Once” – John Vincent III ::
Mitch Mosk, Beacon, New York
He’s been busy bringing his sweet, sun-kissed folk music to audiences around the world all year long, but that didn’t stop John Vincent III from releasing a new song from the road – in fact, it’s all the more fitting that “Never, No Not Once,” in particular, would come during such a powerful inflection point in the singer/songwriter’s career.
An intimate, heartfelt song about growing up – and all the hard changes that come over time – “Never, No Not Once” finds the 27-year-old Los Angeles/Houston-based artist embracing memories and the ones who matter most to him as he holds on to this unpredictable rollercoaster we call life, delivering a set of all-too-relatable, candid reflections through his signature spirited, enchanting folk-pop lens.
Ran outta gas somewhere in Arizona
So, I started walking through that red mud
You said you saw God
through one of them picture sliding viewers
And He walked with you through the rain
Remember running through all them pine roads?
Back when we were just kids
and we swore we had everything figured out
Ain’t it something, how life keeps moving?
Heard you’re having a baby now and you’re moving
“This song means a lot to me and I hope you’re able to find some joy in it,” Vincent III shared upon the song’s release earleir this summer. “I dug through my life and examined the journey that brought me to this point today – the good times and the bad times, memories with my best friends, love and sadness.”
“Life is really hard, when we were younger we swore we had everything figured out, but as you get older you find that nobody has it figured out and we’re all in it together. So yea, this song is for you, and those closest to me… I love y’all.”
On and on, we just keep rambling down the road
Highways and skylines
take us back to places we’d been before
And your heart got me through it
Yeah, your heart got me through it (you)
Oh, how could I have ever held my breath?
I’m sinking to that dried-up riverbed, the older I get
So much more that I’m thinking
about ways I might wind up dead
But never, no, not once
do I think about my life without you in it
“Never, No Not Once” is a gentle giant; a blanket of love shining through charming acoustic guitars and Vincent III’s own captivating, emotionally charged voice. It’s not just a celebration of the relationships we cherish; ultimately, this song is a celebration of life itself. What more can we possibly ask for?
:: “Falling Asleep” – St. Lucia ::
Josh Weiner, Washington DC
I had my first introduction to St. Lucia this past spring when I covered their single “Love You Better” for the Weekly Roundup and was immediately impressed by just how much energy and imagination was contained in this track. I’m happy that it’s only taken me a few short months to get my second dose of St. Lucia via their new release, “Falling Asleep.”
The title is a bit of a trompe-l’oeil – there’s nothing sleepy or slow about this song at all, which is interlaced with fast-paced violin-playing by Jean-Loouise Parker and Jonathan Dreyfus (the band itself is comprised of Patti Beranek and her husband, Jean-Philip Grobler). Rather, the song is designed to express how modern-day lifestyle is so extreme that it simply becomes exhausting. If anyone so much thinks of “falling asleep” in such a world, they’ll simply have to be jolted back into action – “there’s not a moment to think, there’s not a second to waste.”
“The lyrics have a lot to do with our modern malady of never allowing ourselves to rest and always being busy,” the band explains. “All this stress isn’t worth it. Allow yourself to take a break, go on a journey and be a little crazy and unselfconscious about the results.”
The song “Falling Asleep” can indeed be interpreted as the sort of much-needed escapism alluded to in these words. Plus, the music video, set in South Africa, provides some exotic imagery that heightens that feeling of escapism even further. Don’t “fall asleep” on this one, music fans!
:: “arms of another” – blondestandard ::
Chloe Robinson, California
We all love to pine after that ‘rebel bad boy’-type. Those make for the kind of fast-paced thrilling relationships that is easy to crave, but also easy to crash and burn. blondstandard explores the unhealthy illusion of toxic relationships with “arms of another,” with lyrics like, “It’s cold at home at 6 AM in the arms of another. The wind admits as if to say that you’ve been discovered.” This perfectly depicts the player energy you know you should stay away from. We all try to steer clear knowing we deserve more honest partnerships, but just get sucked back in the end.
With comparisons to Blondie and Gwen Stefani, she exudes that same edgy alt-rock aura. Caroline Grace Vein aka blondestandard crafts catchy, in-your-face fiery pieces like “Ruin My Day” and “Freakin Out.” Her musical journey though had not been a simple one. She received the news of a cancer diagnosis shortly after releasing her first two singles. Vien channels that turmoil into songs that build a tried-and-true connection. “arms of another” also creates a tight bond with its relatable message fans can attach to.
:: “Brushstrokes” – Still Blue ::
Mitch Mosk, Beacon, New York
There’s a dramatic depth and dreamy weight to Still Blue’s latest single that help make it feel special… like you’re getting an intimate look inside a heart and soul that seldom open up to the world. It’s the sensation of bearing witness to vulnerability manifest in sound; that kind of intimacy doesn’t show up every day, so when it does, we inevitably take notice. Released August 30th, “Brushstrokes” is a spellbinding and soul-stirring seduction, a spirited revelry, and an all-consuming indie folk upheaval: The kind of colorful, expressive eruption from a tender core that demands its listeners’ undivided attention.
Halo of flies around your head
Taking up space in my bed
I didn’t know what to say back then
I didn’t know what to say back then
Nevermind the crack of the TV screen
Oh I’ll stay inside, best not to be seen
And how does it feel to be so mean?
Oh how does it feel to be so mean?
Comprised of vocalist/songwriter Nicole Lyons, lead guitarist Ruairi Forde, bass guitarist Frank O’Flaherty, and drummer Greg Kearns, Still Blue are staying anything but still these days, having earned considerable applause with last year’s debut EP All Over the Chip Shop and its standout single, “Honeysuckle Daydream.” Following this past June’s ‘return’ single “Naked” (which also deserves a listen in its own right), “Brushstrokes” is exceptionally nuanced – a soft song that builds to stunning crescendos of sound and feeling as the human behind it comes to terms with their reality.
Following the brushstrokes on my radiator
But I am too old to be a procrastinator
Or at least that’s what you yelled at me
When you covered up the masterpiece
Oh and I took the batteries out of my clock
Hoping that it would make time stop
‘Cause all that I could ever wish to be
Is frozen in place like a memory
“It was one of those songs that just flowed,” Lyons tells Atwood Magazine. “I wasn’t really sure what I was writing about until I let the song rest and came back to it a few months later. I wasn’t ready to accept what I was writing. I think a lot of times in relationships we want to ignore that ugly side and only choose to see the good. But that’s not love. ‘Brushstrokes’ is a track about seeing a relationship for what it is and not what you want it to be.”
“We were lucky to record the track in Black Mountain Studios with Alex Borwick. It felt fitting to record ‘Brushstrokes’ there in the peace and quiet. Alex really helped bring the song to life in the studio. We were also buzzing to have Kait Cullen-Verhauz back playing cello on one of our songs too. It always feels special working with such talented musicians and having the space to try out random ideas. In the end, most of those silly ‘what if we did this?’ moments end up in the track anyway and they’re what makes this song feel as close and warm as it does.”
Take ahold of this conversation
My hands are slipping from this condensation
But the more I listen, the less I like that
So yes that’s enough
No it’s not love like you wanna call it
Still Blue have, in one song, created a whole world into which listeners may soak their ears, their hearts, their mind, and their souls. Every listen bears new fruit as “Brushstrokes” reveals itself – and the band’s many, wondrous musical choices – over incredibly liberating, inspiring, and emotional four minutes. Needles to say, Still Blue are a new favorite – one we cannot wait to follow closely from here on out.
:: “Sierra Echoes” – Sketchdoll ::
Mitch Mosk, Beacon, New York
Expansive and invigorating, “Sierra Echoes” is an intoxicating wellspring of spirited passion and immersive alt-rock energy. The London-based band’s second release of the year is a dramatic cocktail of shuffling drums, bustling bass grooves, and fiery, feverish guitar licks and chords – all brought to life around singer Sinziana Vrabie’s stunningly seductive vocals.
“This country-flavored beauty combines a rumbling rhythm section with finger-picked guitar, tender vocals and strings,” the band tells Atwood Magazine. “It’s picturesque, with Spaghetti-Western vibes setting the tone for the complex story that unfolds in the lyrics.”
The second single off Sketchdoll’s upcoming album AFTERWILDLIFE (out early next year), “Sierra Echoes” is dreamy yet dramatic, reserved yet driving – an altogether dazzling world into which we can dive headfirst as we get to know not just a talented band, but also the characters and stories they share.
:: “Lychee” – Freya McKee ::
Jada Moore, Virginia
Since the age of 16, London based singer, songwriter and designer Freya McKee has been perfecting her own sound. One that is deeply influenced by her favorite musicians Beach Fossils, The Sundays, Mazzy Star and Slowdive.
In July, the singer released her latest project, Lychee Juice. The EP coincided with the release of her latest collection for SS24. The EP itself is a balanced mix of the shoegaze-y, dream-pop style. “Grow in Pains,” a collaboration with fellow British band SUGARTHIEF, boasts an impressive listening count on Spotify. Elsewhere, “Lychee” is a standout song – and not just because it shares a name with the EP’s title. Like most of the lyrics on the EP, “Lychee” is full of sorrow and eye opening vulnerability on the realities of life and love. The feeling of being haunted by memories, that can also feel comforting.
You held my hand, told me it’d be okay
Fell into dark, you were the one to betray
I still hear your whispers, some of these days
It sends me shivers, but reminds me I’m safe
McKee’s soft and captivating voice croons the intimate and heart wrenching lyrics, as the music stays in the backdrop. Though the most captivating addition has to be the flute, which brings together the overall dreamlike, nostalgic feel of the song.
:: “Reverse Psychology” – ASH ::
Danielle Holian, Galway, Ireland
In the dynamic landscape of contemporary music, ASH is rapidly establishing herself with a distinct fusion of alternative R&B. Her innovative approach, characterized by resonant vocal layering and bilingual lyricism, paired with meticulously crafted electronic production, sets her apart in today’s diverse musical arena. ASH’s unique ability to blend various influences into a cohesive sound makes her a standout artist, reflecting her deep understanding of genre versatility and artistic expression.
Building on the success of her debut single, “Infatuated,” ASH’s latest release, “Reverse Psychology,” showcases her growth as a multi-talented artist. Not only did ASH perform the track, but she also took on the roles of composer, writer, and producer, demonstrating her comprehensive creative prowess. “Reverse Psychology” stands out as a testament to her inventive spirit, seamlessly weaving intricate production with emotionally resonant lyrics. This track reinforces ASH’s reputation as a musical auteur and highlights her ability to craft songs that are both technically proficient and deeply personal.
The song dives into the turbulent emotions of a failing relationship, capturing the essence of clinging to something irreparably broken. ASH’s poignant vocals, coupled with delicate guitar lines and a mesmerizing beat, effectively convey themes of emotional manipulation and eroded trust. “Reverse Psychology” is a powerful exploration of love’s complexities and the pain of confronting emotional truths. ASH’s evocative sound and introspective lyrics not only underline her artistic integrity but also promise to leave a significant mark on the global music scene as her career continues to ascend.
:: “Look At the State of Me Now” – Maya Delilah ::
Mitch Mosk, Beacon, New York
Maya Delilah’s heavy heart and fragile soul ache openly and painfully on her latest single. Love is beautiful, but as another artist once sang, love hurts – and nowhere does that pain come to light in a gentler or more painful form than on “Look At the State of Me Now,” the London-based singer/songwriter’s latest single. Her first track of the year is a pre-breakup song – the one you sing when you realize that you and your partner are not on the same page, and that you’re not going to be on the same page; you’re in different worlds, on different planes, crisscrossing but ultimately incongruent.
It could have been nice
You didn’t have to think twice
I know that’s not what you’re like
This river runs backwards tonight
Look at the lights
You say they’re burning too bright
I hope that spark never dies
But you only ever want me in the night
Look at the state of me now
Ooh, I think I’m crazy
Thinking you’re someone to lose
Wherever this takes me
I think I’ll go without you
“‘Look At the State of Me Now’ is about looking at yourself at the breaking point in a relationship,” says Delilah. “There’s a big part of you that wants to stay, but you also know you’d be crazy if you did. It’s about feeling conflicted as the other side of you wants to make it work. I’m sure so many people have felt this way just like myself. I always love writing in the time signature 6/8, as it feels so much more emotive to me, and as this song is about heartbreak it felt fitting.”
A collaboration with Aquilo’s Ben Fletcher and Tom Higham (who co-wrote, produced, and recorded the song in their London studio with Maya on guitar and vocals, Tom on guitar, and Ben on keys, bass, and drums), “Look At the State of Me Now” is the kind of hard-hitting, soul-stirring ballad that wake us up, jolting us out of the everyday as Delilah delivers her aching heart on a platter. She sings close on the mic, her delicate voice full of passion and strength, pouring all her innermost emotions into a breathtakingly beautiful song that leaves an instant, lasting mark on the soul.
Anyone else
Somehow I fell for your spell
I traded my love for some hell (Hell)
Somehow I still wish you well
There’s no other way
When you just go on with your day
And even with that little smile up on your face
You still have nothing to say
Look at the state of me now
Ooh, I think I’m crazy
Thinking you’re someone to lose
Wherever this takes me
I think I’ll go without you
There’s no turning back
I’ve cut to black
Now the river’s running blue
I’d be crazy to stay here with you
:: “Catatonic” – Gregory Dillon ::
Josh Weiner, Washington DC
Summer is just about wrapping up now, meaning that fall is on its way and we’ll have to get used to the days getting increasingly shorter. In that spirit, it’s worth getting conditioned to some darker imagery to contrast with all of the bucketloads of sunshine that have been the norm as of late.
To that end, I recommend the new song “Catatonic” by NYC-based Gregory Dillon. The song and video are indeed dark – they pay homage to a variety of old-school teenage horror flicks, as well as the 2001 psychological thriller, Donnie Darko – and evoke the condition of catatonia, which causes sporadic mood disorders and abnormal behavior. Dillon himself has been subject to this condition – he says it amounted to having “inner demons that curse his adolescence and chance for love.” Channeling this experience into lyrics, along with handling the synth-heavy production himself, amounts to a very personal and moving release, one that could make you both shudder and dance at different points.
:: “rosie” – lots of hands ::
Mitch Mosk, Beacon, New York
There’s a weight to lots of hands’ latest single that I, for one, can’t help but find utterly alluring. A heavy, jangly, shoegazey fever dream, “rosie” dwells in a space of longing and yearning, inner and outer churn as the Newcastle-upon-Tyne duo (and recent Fire Talk Records signees) vacillate between tender, wistful (soft) reflections and dramatic emotionally charged (raucous) upheaval. It’s brooding, it’s brash, and it’s utterly all-consuming: A perfect marriage of soul-stirring feeling and spellbinding sound.
Rosie walks in from the rain
With her lips she said
I don’t want no pain
I don’t mean any harm
I just wanna know
where i’m from
In the land of the free
I hope she is happy with me
Or i’ll just live alone
With my lips tied to the old home
Cuz i’d rather die
With the girl or the boy on my side
“‘Rosie’ is still a bit of a mystery to us, in terms of what it’s about,” lots of hands – comprised of Billy Woodhouse and Elliot Dryden – tell Atwood Magazine. “This song has been recorded and re-recorded many times over the last couple years, with each re-recording the meaning changed and took different shapes. Finally we landed on something we were happy releasing, and now it has a new meaning altogether.”
Do I wish Woodhouse and Dryden had expanded upon what it is this song actually means to them now? Of course – and yet, I don’t necessarily need their definition to feel “rosie” punch me in the gut. It does that naturally, without any guardrails or explainers. Cathartic, beautifully exhausting, and altogether exhilarating, “rosie” lights a fire that we can’t put out; it’s a call to angsty arms, and one we’ll happily heed.
Rosie keeps walking the path
When she turns to me she starts to laugh
and points at the ground
I’m pausing the earth and it’s sound
and the worms in start to rise
I’m seeing it with my own eyes
:: “Woman Photographer of the Year” – Emmeline ::
Mitch Mosk, Beacon, New York
Dmmeline doesn’t allow her listeners to turn a blind eye (or in this case, ear) with her latest haunting single. “Blonde lady, she’s a mess, she’s a blonde baby. Miss May, may she ache daily,” the West Yorkshire-born, East London-based artist raps on the visceral, emotionally charged “Woman Photographer of the Year,” her heated, unfiltered, and unapologetically intense third song of 2024. “Pain fades to dark, fades to stark, fades to barefoot in the park, him at the start with a clipboard to mark art.” Her voice is a lightning rod of tension and turbulence as she calls attention to the film industry’s history of misogyny and objectification, and of the women who have stood up to those shameful, awful, disgusting behaviors that continue to prevail and persist.
The camera flash is wearing me thin
Joker smile, tectonic grin, always raining me in
Always something in the scene
Analysing her and what the f* does it mean
(Could you please explain, Joaquin?)
Snapshot intimacy
Calf-tight, fish-net hair
Debonair stare, beckons me to face care
Grace is in hard-wear shelling of a woman
Smash, bulb breaks in the oven
Bonny better, out in Tribeca
Out of sight, out of mind
On the shelf I unwind
I cheat the passage of time,
with a delicate rhyme…
“I picked up an art book in a charity store called ‘Women Photographers’ and was instantly drawn to the idea of women turning the camera lens against themselves, in protest of their historic on-screen objectification,” Emmeline tells Atwood Magazine. “I love writing songs that have clear worlds and concepts, and setting this song in a kind of Hollywood sepia tone, with references to my favourite old movies and iconic Marilyn Monroe-type characters was so appealing to me, as a way of exploring an issue that is still really relevant to our society.”
“I really think of this song as a little film in itself,” she continues. “I’ve always been both disturbed and fascinated with the women Hollywood has spit and chewed up, and left reeling from the effect of intense spotlight. Here I give voice back to them, hopefully also subverting some of the expected traditions of this song’s genre.”
Two feet short of eclipse
You seek the body from the glass,
like a claw from the grip
Like a pause at the hip
Like I’m bored of the bit
And I don’t know where to begin
And I don’t know what to conceive
And I don’t know who to believe
in these plush-f* leather seats
Following this past year’s recent tracks “LGIK” and “Night Rider” (and recently followed with fourth single “Can’t Catch Me Now!”), “Woman Photographer of the Year” is an all-consuming seduction in its own right. Emmeline lures us in with her slick, charged performance, all but demanding her audience’s undivided attention; for us to listen up, and listen close; she’s got something important to say.
And damn, if she doesn’t make sure we hear – and feel – her message. “Woman Photographer of the Year” is an unlikely anthem, but I can’t help but want to raise my fist to the skies in solidarity with Emmeline; to embody the fight, and the empowerment, within this song.
You’re feeling the way I compare
The sun to the moon, the stars to your eyes
But I’m just an actress, and life, is the movie of my mind
And she’s usually the type to keep the self-distanced
Seldom living her life,
caught her fishing for the keys of her discontent
In what I call the Seine,
baby calling at a quarter past 10
Tears are the semi-event
With a little bit of background music,
she’s in Venice again
Can she rock on the river in a dress of design?
She’s bleeding again because
the bloody thoughts are still on her mind
Stunt double, sees the body in trouble
Sees the body in flux, sees the woman in us
Mr seven yards short of an inch
Mr. Man, Mr. look, touch and a pinch
Blonde lady, she’s a mess she’s a blonde baby
Miss May, may she ache daily
Pain fades to dark, fades to stark,
fades to barefoot in the park
Him at the start with a clipboard to mark art
:: “Endless” – Sleek Teeth ::
Chloe Robinson, California
Mechanical darkwave duo Sleek Teeth’s new single “Endless” takes the listener on a penetrating path to embrace the unknown. The 80s-esque banger evokes vibes of greats like New Order and Depeche Mode. The intensely warm and mysterious vocals soar over synth-driven beats. Josh of the band admits, “One minute you’re in a place that feels familiar, and suddenly things take an unexpected turn, and everything is thrown into chaos. You can walk backwards through all the steps looking for warning signs that you might have missed, but there are just some things you never could have seen coming.”
The LA-based twosome concocts a unique style of electronic music that is moody and raw. Their mesmerizing releases touch on themes of isolation and finding answers in the confusion. Their debut single “Gone” is a bold electro piece pulsing with palpable energy. This track is equally as enticing.
:: “Leave It All Behind” – DILAN SKIES ::
Danielle Holian, Galway, Ireland
British-Indian singer, songwriter, and producer DILAN SKIES is captivating listeners once again with his highly anticipated single, “Leave It All Behind.” Known for his seamless blend of Pop and R&B, DILAN SKIES has quickly emerged as a compelling new voice in the music industry, drawing a global fanbase with his emotive lyrics and infectious melodies. This latest release continues to showcase his knack for creating deeply resonant music that effortlessly bridges diverse cultural influences.
DILAN SKIES’ distinctive sound is a product of his eclectic musical upbringing, shaped by his admiration for artists like Craig David, Justin Bieber, and Justin Timberlake. Growing up in the UK, his childhood was enriched by the vibrant Bollywood romances and energetic Punjabi beats from his parents. This cultural melting pot was further inspired by Indian-English fusion pioneers such as Jay Sean, Dr. Zeus, and Raghav. Witnessing these artists blend traditional Indian music with Western pop ignited a passion in DILAN SKIES to carve out his own unique niche in the industry.
While DILAN SKIES began singing at a young age, it was not until he was 15 that he fully embraced his talent, spurred on by the encouragement of friends. A pivotal moment came when he submitted a raw demo recorded on his phone to a competition hosted by a prominent musician. The demo’s potential earned him first place and a mentor, propelling him into the spotlight with his debut single, “Not Over You,” in 2020. The COVID-19 pandemic, while challenging, provided him with time to refine his craft and release successful singles like “Cold On Me” and “Make It Whistle.” With a debut album set for release in 2025, DILAN SKIES is poised to solidify his place in the music industry, offering a deep exploration of his experiences and artistic vision. As he continues to evolve, his ability to blend nostalgia with a modern edge ensures that DILAN SKIES is a name to watch in the global music scene.
:: “Carry Me” – Adelide ::
Mitch Mosk, Beacon, New York
There’s nothing like the thick heat of alt-soul music to light the way through a brisk September – and Adelide’s last single is nothing, if not a smoldering, soulful upheaval. Independently released back in mid-July, “Carry Me” is the Brooklyn-based singer/songwriter’s tantalizing, achingly vulnerable third song of the year. Following the groovy, upbeat “Witness” this past May and March’s cover of Keane’s “Somewhere Only We Know,” “Carry Me” is a sweaty confessional wrapped in sun-kissed sounds: Adelide channels heavy emotions into a seductive, all-consuming reverie as she picks apart herself, her relationships, and her core values.
It might be an over-simplication to call this her “getting rid of dead weight” song, because “Carry Me” is, in truth, so much more than that, and yet the shoe fits – as we ‘grow up,’ we do need to cull the herd, trim the pack, and let a few loved ones go. It’s a hard and painful process, but if we can’t act in our own best interest, then who are we really living for?
When I place my bets
the odds against me change
Always losing here
’cause you’ve rigged all your games
You hide your eyes
They always have so much to say
Your mouth may move
But the words are not the same
You say they are
But I know they’re never true
When you speak them
“I wrote ‘Carry Me’ towards the end of my ‘people-pleasing’ era,” Adelide – née Kayla Raquel Schwartz – tells Atwood Magazine. “I was giving my all to people who were giving back very little in return, and at that point in my life, I realized I didn’t have time or energy left for anyone who won’t stick around when shit gets hard.”
“Some very difficult things happened in my life that made me think hard about the company I keep, so I wrote this song as an attempt to find some clarity. Throughout the process, I began to parse through the relationships in my life and decide whether or not they were worth carrying with me or if they were better left behind for the sake of my wellbeing.”
“It’s a brutal realization, but the truth is that when you outgrow a relationship, it’s better to rip it at the roots and conserve your water for more fruitful soil.”
Adelide hits her stride in the song’s chorus as she recognizes the inequality between what she’s willing to give, and what others seem willing to give her in return:
I’ll carry you to the ends of the earth
And farther too
But you keep me wondering if you’ll carry me
When my strength begins fade
Will you stay?
“Carry Me” meets the weight of the moment with an enduring sense of raw pain and radiant passion. Adelide’s golden voice rises and falls in waves of soul-stirring emotion as she evokes the intensity of her present situation, reckoning with what will ultimately be a self-induced, but very necessary loss that will ultimately, one hopes, allow her to live a healthier, happier life.
For those of us who have ever cut a friend or family member out, “Carry Me” hurts in the best ways. It’s a scar of what has to be done; a reminder that life is nonlinear, but that we can make those hard decisions and find ourselves in a better state because of them.
It’s a question that keeps bouncing around my brain
Won’t you throw me something just to keep me sane?
You hide your eyes
They always have too much to say
You hesitate
When I ask if you love me
You say you do
But I know it’s never true
When you say it
I’ll carry you to the ends of the earth
And farther too
But you keep me wondering if you’ll carry me
When my strength begins fade
Will you stay?
:: “Souvenir” – remote ::
Mitch Mosk, Beacon, New York
Relationships come and go, but memories last forever – and on remote’s latest single, the Manchester duo reflect on the little bits of us that stick around, even when everyone has moved on. Released August 16 via Zigoli Records, “Souvenir” is a tender, gentle song of wistful appreciation; of lifelong connection; and of closure. It’s a poignant acceptance that some loves come and go, but they’ll always exist as a moment in two people’s lives; no matter how short-lived that love may have been, the fact that it existed for even a minute makes it worthwhile – a souvenir worth holding onto, worth recognizing, worth cherishing for what it was, when it was:
You can take a little piece of me home
A little keepsake to keep you warm
Will you wrap me up in wool?
To keep my journey more comfortable
When we get there, please be sure to find
A little place to pop me up and hide
I’ll be your S O U V E N I R
A souvenir to your broken heart
I’ll be your S O U V E N I R
A souvenir to your broken heart
“‘Souvenir’ encapsulates the strange sense of abandonment felt after the termination of a relationship,” remote tell Atwood Magazine. “In this track we have explored how someone can become a souvenir of a past relationship. In the same way a fridge magnet is a memory of a holiday, we dive into the complexities of sticking around when the other person has moved on.”
“‘Souvenir’ is another branch of our experimentation of sound. We have much evolved from our first singles in 2021, but all tracks remain written and recorded entirely by both of us (Ruben and Alex), in our bedroom studio. Multi-track after multi-track, we made just the two of us sound like a full 5-piece band, very difficult but extremely rewarding. We are very eager to share this single with the world as ‘Souvenir’ is a small slice of our upcoming debut EP, I Need More Time.”
remote have been very slowly coming into their own over the past few years, with 2024 marking their most exciting year yet after a quiet 2023. Atwood Magazine previously praised remote’s fourth single, this past February’s “CAN’T DO THIS WITHOUT YOU,” as cozy, cathartic bedroom pop that falls on the ears like a warm, fluffy blanket on a cold night: “The Mancunian 21-year-olds have captured the sense of feeling safe and sound – at home and at peace – in a dreamy, intimate, and utterly enchanting reverie,” we wrote at the time. “Souvenir” is dreamy in a different way, but it’s equally as smile-inducing as its predecessor – the kind of song that makes you feel good, because you know it comes from an honest, earnest place.
So while we don’t really need another song that spells things out in our lives, I can’t help but fall for “Souvenir,” and feel all the more excited to hear more from remote before the year is over.
Stick me on the fridge next to Rome
I’ll always be here when you get home
Day after day I’ll see me fade from your mind
I’m still here but you’ve gone blind
You’ve gone blind
I’ll be your S O U V E N I R
A souvenir to your broken heart
I’ll be your S O U V E N I R
A souvenir to your broken heart
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