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 Angie McMahon, Magdalena Bay, Saint Ahmad, Mount Eerie, Sydney Sprague & Kevin Devine, TV Pins, Crys Matthews, Izzy Pinchen, Tom A. Smith & swim school, Kobra Paige, ÄTNA, Little Moon, Amahla, Jenna Pemkowski, Vindigo, Piper Connolly, sofia Machray, Eric Dash, Kinkajous, and DM Arthur!
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:: “Untangling” – Angie McMahon ::
Mitch Mosk, Beacon, New York
The latest Angie McMahon release is a masterclass in cinematic vulnerability. The Australian indie rock singer/songwriter is at once intimate and all-consuming, unfiltered and raw throughout “Untangling,” a dramatic, visceral unveiling of her heavy heart and aching soul. It’s a cathartic confessional that doesn’t so much swoop high as it does spread out all around us; from the steady, percussive pulse of the drums and bass to a deeply expressive, effected, radiant electric guitar melody, McMahon creates a world into which artist and audience alike dwell in life’s depths. Carefully, she picks open emotional scars, allowing us in to a private therapy session where she candidly acknowledges, just as she did throughout her last album, 2023’s Light, Dark, Light Again, her own perceived shortcomings and failings – and how she ultimately overcame them in order to persevere through hardship.
I didn’t want to stay the same
I didn’t want to hear the change walk in
I didn’t want to hurt you and
It’s always going to start and end
With I didn’t want pain, with I was afraid
With I didn’t want pain, with I was afraid
I needed rewiring
And breaking this open meant starting a riot
My least favourite feeling
Is hurting someone ’cause I was slow at healing
“It was written about someone who is deeply entwined in my life, so I never felt like either the song or the untangling itself was entirely finished,” McMahon says of ‘Untangling,’ which she released in mid-August.
Following July’s single “Just Like North” (which Atwood praised as “a special song that hits home for anyone going through hard times… [it] reads like poetry and bleeds raw emotion”), “Untangling” arrived alongside news of a fresh Angie McMahon EP, Light Sides, which serves as a five-track companion to Light, Dark, Light Again. Not so much ‘happy’ songs as they are ‘hopeful’ (or rather, ‘cautiously optimistic’), Light Sides’ tracks seem to capture McMahon’s journey out from the depression she so powerfully sang of (and through) in her last LP. That record ultimately served as an emotional triumph for her as well, featuring both her “inner reckoning and redemption,” but nothing from last year, except perhaps the album’s spellbinding finale, “Making It Through,” compares to the sense of freedom, liberation, and hard-won release that permeates “Untangling.”
I dropped out of my old shape
And the moves that I made up to twist
So I fit some place
Now I lift weights, and I feel safe
I’m not so afraid
I’ve got something I’m proud of
Growing from something that I’m growing out of
It was a joint misadventure
I am untangling you from my centre
I am untangling you from my centre
Whether or not we’ve gone through our own ‘untangling,’ Angie McMahon’s performance is yet again singular and stunning, beautiful and breathtaking. One can’t help feel the weight lift from their shoulders as McMahon reaches the final minute, her spirited voice ringing out as she rises our of pain, resolved to hold her head high and look forward, not backward. “I am untangling you from my centre,” she declares in her most powerful mantra, and chorus, yet. “I am untangling you…” We won’t always be happy, and we won’t always be able to avoid heartache, but we are not our pain; we are not our suffering; we are not our agony.
Angie McMahon has been singing truth to power for six years now, and “Untangling” may very well be her most exceptional offering to date – but if anything, it’s just proof that the indie rock singer/songwriter from Melbourne/Naarm is firing on all cylinders.
Go angel, it’s okay,
sometimes things are gonna feel this way
Go angel, it’s okay,
sometimes things are gonna feel this way…
I am untangling you from my centre…
:: Imaginal Disk – Magdalena Bay ::
Marc Maleri, Connecticut
A friend of mine asked me to give Imaginal Disk a listen, and ever since, every element of the project has sunk its claws into me, from the album art, to the futuristic production, and masterful storytelling throughout. Mica Tenebaum and Matthew Lewin of Magdalena Bay have created one of the most unique, interesting, enthralling albums that I’ve heard this year, and that’s saying something considering what a legendary moment in time it’s been for music. The album chronicles a journey into what it means to become human, whether it be on the clever breakdown of phrases like “Killing Time” on the 2nd track or on the ultramodern realms of a track like “Image.”
What struck me the most when I first listened to Imaginal Disk was the album’s dynamic production. There is so much going on within every track, but not to the point of confusion or a headache-inducing listening experience, which very well could’ve been the case when the duo is layering synth over drums over lasers, the list goes on and on. I love when artists are experimental, something that Magdalena Bay seems committed to. What makes the project even more addicting is the cohesive story about the human experience told from front to back, only strengthened by the seamless transitions throughout. It’s almost difficult to just casually listen to one track from the album when I know that the story being told flawlessly melts into the following song. I often find myself listening to as much of the album that I can, in order, until something comes up where I have to stop. It’s fairly rare for me to add an entire album into my library off the first listen, but Imaginal Disk broke that rule with ease.
:: “On Go” – Saint Ahmad ::
Grace Holtzclaw, Los Angeles, CA
Saint Ahmad is a Brooklyn-based, LGBTQ+ artist who is shedding light on the New York club scene with his vivid soundscapes that paint a vibrant portrait of nightlife. His latest single “On Go” highlights the complexities of hookup culture in the LGBTQ+ club scene. Torn between his emotional and physical desires, Saint Ahmad captures the stark dichotomy between a one night stand and a love that lasts forever.
“On Go” is filled to the brim with pulsating beats, euphoric vocals, and vivacious synths that collide over a lush and compelling narrative of physical attraction. Saint Ahmad sings, “Don’t got time for labels, I do it all / I ball, ball, ball / He said okay, well bend it over in the bathroom stall.” The track is full of chemistry, passion, and allure as Saint Ahmad takes us with him on a wild night out.
Saint Ahmad is an artist who experiments with many mediums. On top of his career as a musician, he also holds a BFA in Dance from Florida State University. “On Go” is his latest release celebrating the thrill of queer culture and the NYC club scene.
:: “Broom of Wind” – Mount Eerie ::
Frederick Bloy, London, England
As surreptitiously as the living gusts of wind Phil Elverum details in this new single, as soft and murmuring as the renown singer-songwriter’s own vocals, Mount Eerie has released new music – two tracks, to be exact. “I Walk” is the accompanying song of fellow single, “Broom of Wind.” Mount Eerie’s repertoire tends on some of the heaviest, most cogently written music I have ever encountered, but, despite this, its mature serenity renders it, no, not forgettable, but fading, unnoticed, dissipating into the vertices of your mind, over time, unrestricted. A new single is released, and everything returns. It’s like a decaying tree sprouting new leaves.
Elverum presents a lyrical style he has worn with comfort for some time, somewhere between realism and imagism. The image of a deteriorating broom correlates to human existence – we sweep away the bits of us that break the longer we exist, until something greater sweeps us up entirely, i.e., a ‘broom of wind’. This is Elverum once again making a transferred epithet of death, shifting the reality of our own, contingent existence, onto something other than human; we will never see Elverum face death as candidly as in A Crow Looked at Me again, but that keeps both that album, and everything external to it special. This time round, Mount Eerie’s existentialism is mellow, catchy, and perhaps even upbeat, Elverum’s guitar having seemingly shedded its lonely fingerstyle of days gone by. A steady backbeat keeps us nodding along, instances of layered feedback casting momentary dread, only to resolve into what is welcome harmonic and textural depth.
Ultimately, a new Mount Eerie album is on the cards. If “Broom of Wind” is anything to go by, Phil Elverum is as transparent, poetic, and rustic as ever. As we edge into the autumn months, the timing couldn’t be better.
:: “i tried my best” – Sydney Sprague ft. Kevin Devine ::
Mitch Mosk, Beacon, New York
It feels only fitting that Sydney Sprague would eventually open a song with the words, “I had a fear the world was ending”; Her debut album was entitled maybe i will see you at the end of the world, and her 2023 sophomore LP somebody in hell loves you continued that doomsday-like trend. Yet what’s most exciting about “i tried my best,” the Arizona singer/songwriter’s first release since her last record, isn’t necessarily that opening line, nor is it the presence of an indie music legend in Kevin Devine; rather, it’s the sense of hope that resonates out from this song’s core.
I had a fear the world was ending
I never thought I’d be right
Slipping down the final backslide like
Oh f*
As churning as it is emotionally charged, “i tried my best” is essentially an unfiltered 2.5-minute self-therapy session. It’s spirited and invigorating sonic upheaval (rugged, angsty garage rock) wrapped in a soothing blanket of empathy and understanding, re-centering and rebalancing as Sprague and Devine pull themselves back from the brink.
Getting out of our heads is far easier said than done, but a fresh perspective – in life, and in song – can go a long way:
Think I took my whole life for granted
Just thought there’d be other nights
To sneak out of parents house ‘til sunrise
Guess what
Nobody cares what’s in your head
Grab at the string, pull at the end
Doing the best that I can
“I wrote ‘I tried my best’ during lockdown,” Sprague tells Atwood Magazine. “When I was pretty sure the world was ending, it was the first time I felt like I was writing purely for my own experience. As long as I can remember, writing has been a form of therapy/catharsis for me, but the element of knowing or hoping that someone outside of myself would hear what I wrote always colored what I was saying in one way or another. It helped me reconnect with the whole point of why I do this, which is basically just to self-soothe. ‘i tried my best’ is about getting back to that feelin, and ironically it turned out to be my favorite song I’ve ever written and the one I hope people hear the most.”
Sprague hits a definitive high in the chorus as she affirms, “Nobody cares what’s in your head. Grab at the string, pull at the end, doing the best that I can.” It’s as much a reminder of the agency we have in our own lives, as it is a recognition that all we can do is try our ‘best’ each and every day – and that the definition of ‘best’ will itself vacillate, and that’s okay! But no one will ever be in our corner more than we are for ourselves.
That this track gets some extra love from Kevin Devine – whose presence both amplifies the music’s message, and turns it into a rare Sydney Sprague duet – makes it that much more special. His short four-line verse is filled with existential dread, and yet the way his and Sprague’s voices melt together stands to showcase in real-time how we really are never alone in our suffering.
Wonder how long the wheels keep turning
And if they grind to a dust
Or take another shape while learning to adjust
For what
Nobody cares what’s in your head
Grab at the string, pull at the end
Doing the best that I can
“Having Kevin Devine on the song adds another layer,” Sprague admits. “I’m a longtime fan, and the fact that he liked the song enough to sing on it is so crazy to me.”
“I’ve been on tour with Super American the last couple months, on the heels of a recent, pretty major tragedy in my life,” she continues. “Playing this song on the road has been really healing for me and helped me process. I feel like I find new meaning in it every time I sing it. It sinks in a little more all the time how important it is for me to write about the things that are hard for me to communicate in regular conversation. It really helps me, and I hope maybe it can help someone else too.”
We’re all just trying our best, but few artists spell it out as powerfully, as poetically, and as passionately as Sydney Sprague. If at the end of the day we can look back and say, “I tried my best,” well then, that’s all we can ask for, isn’t it?
Nobody cares what’s in your head
Grab at the string, pull at the end
Doing the best that I can
I had a dream where nothing happened
I guess I’m out of ideas
:: “Daisy Saturday Pins” – TV Pins ::
Josh Weiner, Washington DC
“He she comes again, yes there’s only one.” For one of their very first singles, TV Pins have lyrically constructed a female who “takes it all too far every Saturday night.” Her evening presence proves to be so devastating, week in and week out, that the fellas have taken to calling the weekly occasion “Daisy Saturday Night.” A memorable time is guaranteed for all on such a soirée.
It’s a promising concept for this newly formed band from London, backed up by the fine musicianship of all five members – James Schofield, Duncan O’Neill, Miles Nicholas, Simon Hudson and Grace Bailey-Hinks. “There’s no turning back – you’re fully signed up,” they inform us. “So, just sit back and enjoy the ride.” Hey, the ride that is their budding career had a promising first stop with “Daisy Saturday Pins,” and I promise to remain onboard once they reach their final destination: their debut LP, Aircutter, due out on October 25th!
:: “The Difference Between” – Crys Matthews ::
Chloe Robinson, California
We all deserve equality and fair representation. Sometimes though, certain genres of music will not strive to broaden their horizons. LGBTQ+ Americana/folk/country singer-songwriter Crys Matthews’ single “The Difference Between” showcases three Nashville-based queer artists. The empowering piece is a twang style track for all those who have ever felt like they do not fit in. Her penetrating vocals speak the words we so desperately need to hear. Lines like, “When it’s as country as we wanna be. Without all the hate and the bigotry,” there is a pointed honesty about the nature of the industry and a path towards change. She reveals, “This is a reclamation not just of the space Black artists have been denied in Country and Americana music, not just of the space LGBTQ people have been denied in communities of faith, not just of the autonomy women have been denied over our own bodies, but a reclamation of the South that raised me.”
Nashville artist Crys Matthews colorfully combines Country, Americana, Folk, Blues, and Bluegrass to create organic music with profound heart and soul. She is honored to support her community within and outside of her songs. Matthews is a social justice warrior, proud black woman and LGBTQ+. Even without those characteristics she possesses tremendous talent, but knowing that makes her message all the more impactful.
:: “Not Alone” – Izzy Pinchen ::
Danielle Holian, Galway, Ireland
Izzy Pinchen’s latest single, “Not Alone,” solidifies her status as an emerging force in British pop, offering a thoughtful and moving exploration of mental health. Known for her distinctive voice and fresh approach to the genre, Pinchen continues to push boundaries with a sound that blends alternative pop and neo-rock. Her ability to channel raw emotion through her music, paired with sharp songwriting, makes “Not Alone” an impressive follow-up to her debut track, ‘Midnight Moon’, which already marked her as a talent to watch.
The strength of “Not Alone” lies in its balance between vulnerability and strength. Pinchen’s vocals, rich with emotion, rise and fall against a backdrop of atmospheric instrumentation, creating a soundscape that mirrors the complexities of the song’s subject matter. The combination of driving beats and moody guitar riffs gives the track a dynamic edge, while the heartfelt lyrics speak directly to the struggles and resilience associated with mental health challenges. Pinchen’s honesty and openness in her music create a sense of solidarity for listeners who might be grappling with similar experiences.
Izzy Pinchen delivers a poignant and sonically captivating track that not only showcases her growth as an artist but also addresses important themes with nuance and empathy. Her ability to blend introspective lyricism with bold production choices sets her apart in the crowded pop landscape, marking her as a compelling voice in both British pop and the broader music scene. As Pinchen continues to evolve, her music promises to remain as emotionally resonant and innovative as ever.
:: “I Don’t Want You to Have to Remember Me for Longer Than You Ever Knew Me” – Tom A. Smith & swim school ::
Mitch Mosk, Beacon, New York
Wow, what a breathtaking, dramatic mouthful of a song (literally and figuratively)! The brand new collaboration from English singer/songwriter Tom A. Smith and Alice Johnson (of Scottish indie rock darlings swim school) is a gentle giant of seductive sound and raw, palpable feeling. The best part is, the title really does say it all – but you’ll have to actually listen to “I Don’t Want You to Have to Remember Me for Longer Than You Ever Knew Me” for its full four minutes in order to soak up the heat and heart of this special track. Cinematic and soulful, Smith’s brutally honest second song of the year (following this past March’s standalone single “Get Me Started”) is an earnest, vulnerable, and achingly intimate world unto itself – one in which passion and pain collide, coalesce, invigorate, and inspire:
Don’t think you know just what I meant
That Friday night when we were drunk and then I said
If you lost me would you ever forget
If you lost me would you ever forget
The strangest feeling keeps running round my head
So much good going on but so much fear instead
But at least I’ve lived my life with nothing to regret
With nothing to regret
I don’t want you to have to remember me
I don’t want you to have to remember me
For longer than you ever knew me
for longer than you ever knew me
I don’t want you to have to remember me
I don’t want you to have to remember me
For longer than you ever knew me
for longer than you ever knew me
“This is in my opinion the best and most personal song I’ve ever written,” Smith tells Atwood Magazine. “I’ve met Alice and the Swim School guys and really love everything they’ve done and think our vocals complement each other perfectly. She was so innovative when working out her harmonies to the point that I can’t imagine it without her. I’m so excited for everyone to hear it and the full-length version.”
“It’s a song about one of those 3 AM deep and meaningful pizza shop conversations about the fragility of life and about insecurities I was feeling and continue to feel,” he explains. “I don’t think I’ve written anything as quickly, and the title of it – although ridiculously clumsy – is the only way I’d want the song to be known. There’s certain songs and subjects where you wonder why nobody hadn’t written it before, and I think this title is exactly that. The bridge came later in the day, when I attempted to record the demo and I worked back from the crescendo. Because I could hear it as a duet, I just really wanted that part to be a coming together. If I had my way, this song would be ten minutes long, but we do have a longer version appearing soon!”
This picture’s clearer than it was before
So I’ll keep trying and I’ll just ignore
I’ve got nothing to prove anymore
I’ve got nothing to prove anymore
But It’s not worth it if I don’t see success
But without these moments
my life would be a mess
So it’s still down to me nonetheless
So it’s still down to me nonetheless
I don’t want you to have to remember me
I don’t want you to have to remember me
For longer than you ever knew me
for longer than you ever knew me
I don’t want you to have to remember me
I don’t want you to have to remember me
For longer than you ever knew me
for longer than you ever knew me
There’s something endearing about hear Smith and Johnson come together to spill their souls so unapologetically. “I Don’t Want You to Have to Remember Me for Longer Than You Ever Knew Me” is an emotionally charged masterpiece, and I, for one, would take a twenty-minute version of this song if they had one lying around. Lay it on thick, and hold nothing back – true art doesn’t play by the rules, nor does it abide by the pressures of the industry.
With a title this long and this potent, you’d expect the music to hit you over the head – and much to Smith and Johnson’s credit, it does.
Said a million times
That this world is mine
But I know most people
don’t agree but your there with me
And they might be right
But for just tonight
Maybe I’d agree
I don’t want, I don’t want…
I don’t want you to have to remember me
I don’t want you to have to remember me
For longer than you ever knew me
for longer than you ever knew me
I don’t want you to have to remember me
I don’t want you to have to remember me
For longer than you ever knew me
for longer than you ever knew me
:: Like No Other – Kobra Paige ::
Julius Robinson, California
Kobra Paige’s new album Like No Other is an inspiring body of work encouraging others to cultivate empathy and understanding. Each track within the album paints a vivid picture and we are sucked in by the imaginative imagery. With every piece she is seeking a way to heal humanity.
The album opens with “Rebirth Intro.” It is a warm and haunting instrumental that sets the tone for the rest of the album. It leads us perfectly into “Under One Sun.” The song feels like you are stomping into battle, motivating listeners to remain strong in hard times. “HOTT.” is all about self-confidence and embracing who you are. The fiery vocals over a fuzzy, static backdrop create the ultimate I don’t give a f* attitude. Closing it out with “Genesis,” another instrumental release, the track pulls us in with a solid rock drum / percussion solo. Later on the work then transitions into a southeast Asian vibe making this highly eclectic and captivating.
Paige is a Canadian artist whose music is edgy and raw. Her releases liberate fans with her energetic pop-rock aura. Like No Other has that same fierce quality giving off a Cranberries feel. “Like No Other” was finished by Kobra at producer Brian Howe’s (Skillet, Daughtry, Linkin Park) Black Stove Studios.
:: “Number One” – ÄTNA ::
Danielle Holian, Galway, Ireland
The multi-disciplinary art project, ÄTNA, has garnered attention for its unique fusion of opaque electronics and billowing pop textures. The duo’s music is driven by seductive vocals and high-octane rhythms that captivate listeners, offering a fresh and immersive sonic experience. With their distinctive approach, they continue to push the boundaries of modern pop and electronic music, combining a bold sound with an innovative artistic vision.
Their latest single, “Number One,” serves as a compelling preview of a forthcoming album set to release this Autumn. The synth-driven track seamlessly blends soft and lush electronic elements, exploring timely and urgent themes such as climate change, deforestation, and global warming. Through its intricate soundscapes, ‘Number One’ reflects ÄTNA’s ability to craft thought-provoking music that is as sonically rich as it is socially conscious.
Driven by waves of creativity, “Number One” ebbs and flows with a boundaryless approach, offering a sophisticated and artful sound that stands out in the contemporary music landscape. The duo’s innovative composition and refined aesthetic make the track a standout addition to their repertoire, solidifying their place as pioneers in the intersection of pop, electronic, and environmental commentary.
:: “now” – Little Moon ::
Mitch Mosk, Beacon, New York
It’s the sheer beauty of Little Moon’s chamber folk music, mixed with the rawer beauty of singer/songwriter Emma Hardyman’s lyrics, that makes a song like “now” as enchanting as it is irresistible. The lead single off the artist’s upcoming sophomore album Dear Divine (out October 25th via Joyful Noise) is a dreamy, spiritually uplifting and soul-baring serenade that aches from the inside out, even while it shines from the inside out. Candid, cathartic, charming, and charged, the song arrives over a year after Little Moon’s last release, the standalone single “wonder eye” (which will also now feature on Dear Divine), and is the Provo, Utah-based artist’s first release since she won the 2023 edition of NPR’s Tiny Desk Contest.
The broken beauty
of a broken flower
the beauty of broken people
to see it white or black
or grey or green
to say we love one another
do we love all the others, too?
maybe you know it all
maybe you know i’ll fall
and get it wrong a lot
to love as jesus taught
i know that i am insecure
i know that i’m selfish
and i’m scared to lose you
but i’m with you now…
“‘now’ is a deeply personal reflection on my struggle to be present and authentic in a world full of expectations and insecurities,” Hardyman tells Atwood Magazine, “The inspiration for ‘Now’ came from my desire to be present with the more difficult parts of my humanity – the parts of myself that I’ve avoided because they didn’t fit into the idea of who I thought I should be. It’s about the struggle I feel to accept that I am imperfect and riddled with flaws. I wanted to write a song that isn’t about elevating the ego nor dismantling it, but rather about finding peace and authenticity by being present with our whole selves, shadows and all.”
“Developed over many years, this song grew and changed with me, delving into the difficulty of loving and being loved, especially within cultures and institutions that often prioritize trust in them over trust in oneself. Through this journey, I aimed to honor the deep, sometimes shameful parts of our humanity. ‘now’ is a message to myself that in our brokenness and vulnerability, we can find true connection and love.”
i look at crowds
all singing out the blues
while one is screaming
“I love you!”
to count our days and douts
and dollars and diamonds
and daisies are screaming
and whispering one to another
“we’re all gonna suffer
we’re all gonna hurt to heal!”
maybe you know it all
maybe you know i’ll fall
and get it wrong a lot
to love as jesus taught
i know that i am insecure
i know that i’m selfish
and i’m scared to lose you
but i’m with you now…
“now” is romantic and raw; it’s confessional and unfiltered; it’s delicate and dynamic. Little Moon fills up the whole night sky with this song, creating a world of musical and emotional wonder for us all to bask in as we join in her commitment to be present and engaged both with ourselves and with our surroundings. In point of fact, this song is both the perfect reintroduction to Hardyman’s spellbinding avant-folk artistry, as well as a captivating look at what’s to come on Dear Divine – a record that she herself explains as both “love-as-grief” and “grief-as-love,” tracking her departure from the Mormon Church and the web of emotions and experiences that came with it.
for now, as it ever was
peace of mind is
as a peaceful heart does
and now, even when we fall
there’s enough pieces
of love for us all
and now, do you notice how
every heartbeat feels right now?
we can only be…
maybe i’ll never win
maybe it’s good to say
i get it wrong you see
loving you is all i need and
this time i’ll take a walk
this time i’ll notice how
our hands get warmer
as you kiss me now…
:: “Money” – Amahla ::
Mitch Mosk, Beacon, New York
Amahla’s inner light shines on “Money” as she lays it all out in song: “So, honey! You know it’s not every day about money,” the Hackney singer/songwriter exclaims in her latest single, “Money.” “Not many times do I concede for something that’s not good for me, so when you gonna run me?” It’s a spirited moment of empowerment and self-expression for the artist as she lets her voice and soul ring out – both full of light, love, and passion.
I am getting tired of your complications
Looking for a kind of compensation
If I’m due it, I should get what I want
But I’m stuck receiving nothing at all
I’m guessing the funny thing about history
You’d rather pull me back than let me leave
So, honey!
You know it’s not every day about money
Not many times do I concede
For something that’s not good for me
So when you gonna run me?
The lead single off her new EP Ooooh Honey! (out 27th September), “Money” is Amahla’s first song of the year – produced by Stormzy collaborator PRGRSHN – and follows this past January’s nine-track ‘song collection’ Enough: The Collection.
“I wanted to merge Jazz and R&B in a way that felt effortless, so I wrote the vocal melodies as if my voice was part of the horn section,” Amahla says of making “Money.”
“PRGRSHN and I joked how funny it’d be to claim compensation for someone wasting your time. It felt witty, confident and real, then I wrote my favourite lyric, ‘If it’s too high a fine to pay then boo, please don’t waste my time when rent is due!’”
I know you’re the problem and I’m tired of waiting
Thought I’d let you know I’m taking on donations
I take credit, debit, cash and online
Just in case you ever do feel inclined
And if it’s all too high a fine to pay then boo
Eh please don’t waste my time when rent is due
Now, honey!
You know it’s not every day about money
Not many times do I concede
For something that’s not good for me
So when you gonna run me?
For Amahla, this song marks the start of an exciting new chapter in her artistry and career. “Ooooh Honey! is a record of me growing up,” she explains. “These songs were written over three years and are just me figuring out who I am, learning how to hold myself in relationships, managing social anxiety while pursuing a career where I’m constantly perceived, and learning it’s okay to reinvent yourself when you feel a change calling. It’s confident and kind and mixes a few genres including but with a basis of Soul and Jazz. I’m so excited to put these songs together and present them as a whole.”
Charismatic and utterly charming, “Money” is golden-hued, glistening musical fun. It’s an authentic representation of Amahla’s singular sweet soul – a song that is sure to light a fire inside as it puts a genuine smile on all who listen.
Ooooh, honey!
You know it’s not every day about money
Not many times do I concede
For something that’s not good for me
So are gonna run me?
I take credit, debit, cash and online
(I wanna know what love is)
Just in case you ever do feel inclined
I take credit, debit, cash and online
(Hmm, just in case you ever do feel inclined)
Mwah!
:: “Dynasty” – Jenna Pemkowski ::
Danielle Holian, Galway, Ireland
Jenna Pemkowski’s new single “Dynasty” marks a defining moment in her solo career, showcasing her evolution as an artist after a decade of notable collaborations with artists like Zeds Dead, Memorecks, and Dabin. The song, a deeply personal and reflective piece, establishes Pemkowski as a force to be reckoned with in the indie and alternative pop scene. It’s clear that stepping into the solo spotlight has allowed her to fully explore her creative voice, delivering a track that is both intimate and expansive.
The song blends elements of indie, alternative pop, and bedroom pop, capturing the DIY spirit that defines much of the genre. Written and recorded in her childhood bedroom, “Dynasty” is a testament to Pemkowski’s raw talent and dedication to her craft. Collaborating virtually with producers, she turned isolation into a driving force for creativity. The result is a polished yet emotionally charged track, rich with haunting melodies and layered production that perfectly complements her airy, evocative vocals.
Lyrically, “Dynasty” delves into the complexities of navigating uncertainty, capturing the tension between temporary distractions and the inevitable passage of time. Its introspective tone resonates with listeners who have experienced the emotional highs and lows of the pandemic. Pemkowski’s ability to craft such a poignant and relatable narrative while maintaining sonic sophistication makes this single a standout release, signaling a promising future for her as a solo artist.
:: “cities” – Vindigo ::
Grace Holtzclaw, Los Angeles, CA
Vindigo is the solo-project of Los Angeles based artist Dakota Brubaker. “cities” is his latest single that unveils the harsh realities of living in an urban arena where everyone is in it for themselves. It’s an existential, punk meets experimental dance head rush that draws in a vast library of layers for one seamless symphony.
“cities” is a slow burn into a cathartic release. What starts with a reluctantly lush vocal atop pristine beats builds into a feverishly frustrated chorus swimming with pensive riffs. The lyric, “I did not wish to be here,” guides the track and resurfaces at unexpected, yet serendipitous moments. “cities” marks a powerful new chapter for Vindigo as he experiments with genre and takes risks like never before.
:: “Kiss Like Me” – Piper Connolly ::
Chloe Robinson, California
Vibrant and punchy pop meets punk artist Piper Connolly’s new track “Kiss Like Me” delivers the ideal edge. Her witty lyrics sung with such a fiery passion allow her message of wanting what you cannot have to pierce through. The static soundscapes are also highly fierce and thrilling. The singer shares, “It is the ultimate ‘the grass is greener on THIS side’ song. It’s fun and flirty.”
The Phoenix, Arizona native can be compared to alt-pop greats like Avril Lavigne and Olivia Rodrigo. She certainly exudes the same in-your-face vibes. Beautifully blending pop and rock, her infectious pieces are unique standouts that are worth a listen. “Kiss Like Me” is another release just as gripping as the rest.
:: “Pulling on a String” – Sofia Machray ::
Mitch Mosk, Beacon, New York
It’s hard for me to admit that it’s been over a year now since I first fell for Sofia Machray’s debut EP Language of Flowers; a delicate and dynamic masterpiece I previously described as a “tender tempest full of dreamy, radiant sound and raw vulnerability,” that record remains a powerful work of art (it was, after all, one of 2023’s best EPs), as well as a gorgeous introduction to the New Zealand-based singer/songwriter.
And now, her journey continues with “Pulling on a String,” a dreamy indie folk song full of warmth and wonder, vulnerable lyricism and ambient textures. From the moment her guitar comes into view, Machray demands her audience’s full and undivided attention – and for nearly three enchanting minutes, we are happy to dwell in her world full of lush instrumentation and poetic self-expression:
Fickle as the mind
Ticking around the clock out of time
Gentle spins
They’re twisted out of line
You only want what I want
You only have what I have
Which is nothing, nothing, nothing much yet
Nothing much yet
“The song is about recognising dissatisfaction in life and appreciating what we have before seeking more,” Machray tells Atwood Magazine. “Sometimes, if we keep chasing because we think we don’t have enough, we’ll never stop. I loved thinking about the concept of two people pulling on a string as a metaphor for this idea and used dissonant chords and textures towards the end of the song to musically represent this mental tug of war.”
Walking to find
A place to bump into, to pause and smile
To tell all the others that I’m pulling all my strings
Every night, every night they bleed
Down by the gutters collecting all my things
Every night, every night it seems
You only want what I want
You only have what I have
I can’t help but listen to this song and come back to the first “indie folk” music that I ever really loved: The songs off Bon Iver’s debut album, For Emma, Forever Ago. Seventeen years after that record’s initial release, music full of acoustic grace and lyrical vulnerability continues to reign supreme; spilling your guts is arguably cooler than it’s ever been, and Machray does it very well. “Pulling on a String” offers little in the way of answers, and yet like a balm, it soothes both the mind and the soul – calming our hearts as we fall headfirst into Machray’s dreamy, all-consuming reverie.
:: “You’re Not the Only One” – Eric Dash ::
Julius Robinson, California
Do you have a habit of overthinking situations? Do you ever try to say something and it all comes out wrong? Eric Dash’s single “You’re Not The Only One” focuses on residing too much in your mind that the flow is no longer natural. He passionately sings, “You know when it happens, when everything feels right. You don’t have to choose your words, what’s said is said.” He deeply yearns for that confidence and conviction and we can relate to that desire. The bluesy guitar and soulful vocals drive that craving home.
The New Jersey native grew up performing all over the Philadelphia-area. That helped him hone in on his vast talent, later working with prominent producer Jack Joseph Puig (John Mayer/No Doubt). It only makes sense he collaborated with Puig as his music has a Mayer-esque air while still evoking a sound unique to him.
:: “Shifting Sands” – Kinkajous ::
Josh Weiner, Washington DC
Summer 2024 was largely the Summer of the Saxophone for me. From a five-day trip to New Orleans, to catching the Montreal Jazz Festival, to seeing multiple jazz shows here in Boston, to swinging by an underground jazz bar while I was in Paris for the Olympics, it seemed like I was running into this fine brass gem every which way I went. Heck, I even squeezed in a 3-day trip to Belgium, the country where both I and the saxophone were first conceived! (Albeit one in the 1840s and the other in 1992). Given that the summer is now wrapping up, with Labor Day Weekend having come and gone, it seems only fitting to give one final shout-out to the instrument that so helped to define these past few months for me. I will do so by covering a saxophone-dominated track – “Shifting Sands” by Kinkajous – for the Weekly Roundup.
On “Shifting Sands,” the saxophone-playing is provided by the masterful Adrien Cau, who represents one half of the London-based experimental duo Kinkajous. The other member, Benoît Parmentier, contributes the drums and the ethereal production that constitute the rest of the soundscape here, one which proves mesmerizing all the way through its six-minute runtime. “‘Shifting Sands’ is built on free-flowing structures,” Parmentier says of the approach he and his creative ally took to achieving such a soundscape. “This approach allowed a raw emotional depth to surface, creating both uplifting and somewhat sinking sensations. There’s a vast amount of space within the track, allowing production details and orchestration subtleties to shine.”
Once the accompanying album, Nothing Will Disappear, arrives in November, I’m sure we’ll be able to appreciate those details and subtleties even further. For now, though, I’m sending my thanks over to the guys in Kinkajous for providing me with a great listening experience with “Shifting Sands” and helping me to cap off the Summer of the Saxophone in grand style!
:: “Hopeless, Sometimes” – DM Arthur ::
Mitch Mosk, Beacon, New York
There is as much tenderness as there is turmoil in DM Arthur’s aching and impassioned new single. The tenderness you can feel; it’s in the artist’s fingerpicked acoustic guitar patterns, it’s in his warm voice, it’s in his hearty instrumental harmonies and accompaniments. The turmoil, however, you have to seek out and find for yourself: “Sometimes when I try just to get by, I am hopeless, sometimes,” Arthur sings in the song’s breathtakingly beautiful, gut-wrenching chorus. Vulnerability pours out of him in spades as he wears some of life’s hardest emotions unapologetically on his sleeve.
I woke up in a state without you
I’d sleep in late everyday if I could
As the rain cuts shadows on your face
I’ve never been so hollow in this place
Sometimes when I try
Just to get by
I am hopeless, sometimes
“‘Hopeless, Sometimes’ was actually never part of the plan to make the record,” the Scottish singer/songwriter tells Atwood Magazine. “It was one of those songs that sort of poured out in its entirety almost instantly and just a week before I was due in the studio to record my debut EP. I sent a rough phone recording of it to Pete Miles who produced the record and he told me we had to record it.”
“I think the reason this track came to together so quickly from the writing to the finished recording was because of how simple it is. After years of striving for this false idea of perfection in previous bands and relationships, maybe ‘Hopeless, Sometimes’ is just me trying to convince myself that I’m alright despite my f***ups and life not always going quite to plan.”
In these times of hate and sorrow
Nothing new and nothing yet for tomorrow
All of you and all of me we are broken
All the words we have unspoken
Sometimes when I try
Just to get by
I am hopeless, sometimes
Originally from Glasgow, DM Arthur introduced himself to the world in 2022 with the songs “Somewhere In The In-Between” and “Sinkin’ With Fishes,” both of which have enjoyed a modicum of online success. “Hopeless, Sometimes” is only his third single, and a soul-stirring introduction to him, at that – one that highlights his humanity, his fragility, his grace, and his humility. As intimate as it is universal, the song holds nothing back in capturing familiar moments of insecurity and uncertainty, tension and disconnect; of feeling lost and at sea, not knowing who you are, where you belong, or why you’re here to begin with. What a beautiful thing it is that we can get so close to someone just through their music; what a beautiful thing it is that someone can illuminate a piece of ourselves through their own song.
We are all hopeless, sometimes; and in three absolutely stunning minutes, DM Arthur reminds us that, even at our lowest, we are never alone.
I never had anyone to teach me like a son
All these days I’m so tired i just can’t carry on
I am hopeless, sometimes
I am hopeless, sometimes
Sometimes when I try
Just to get by
I am hopeless, sometimes
I am hopeless, sometimes
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