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 Jo Hill, allie, ASH, BAYNK, Phoneboy, Saint Joshua, NewDad, Moody Joody, Daisy the Great, agile, Star 2 & EH LA, $ebbuku & Alina, KiKi Holli, Sandhouse, Market, Eric Dash, Three Years Younger, Jordan Duffy, LEXXE, 808 BEACH & Amy Douglas, Cormac Looby, & Natalie Del Carmen!
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:: “ALL MY GIRLS ARE TOMBOYS” – Jo Hill ::
Mitch Mosk, Beacon, New York
Cheddar’s Jo Hill came seemingly out of thin air last year and quickly stole our hearts with her sophomore EP Cinematic Baby and songs like “Off the 45” and “Glastonbury” – tracks whose big choruses hit hard, all while capturing life’s small moments of connection, meaning, and reeling. By 2023’s end, Hill was an Atwood Editor’s Pick and a featured artist, and her music was highlighted in our “36 Best EPs of 2023,” our “Top Artist Discoveries of 2023,” and our “2023 Songs of Year” articles. She was also named an Artist to Watch in 2024, and watch her we have – the songs “THE CITY NEVER SLEEPS” and “BIG BOYS CRY TOO” have continued to dazzle and impress, but it’s on her latest single that she’s dialed the energy up and turned on that charismatic, captivating Jo Hill charm.
You’re making me a bitch
and I’m not even on my period
Just tryna scratch you
didn’t even think to ask I had
Bury my diamonds and cover my curves
Hide my distractions so I can be heard
Speak from my chest
but you’re reading the words on my shirt
An unapologetic ray of soaring, seductive, and spellbinding energy, “ALL MY GIRLS ARE TOMBOYS” is as irresistible as it is infectious: Hill comes to life in an uplifting, inspiring outpouring of love channeled into three minutes of unbridled, spirited indie pop passion. It’s a feminist anthem, a f*-you to the patriarchy, and an ode to the amazing women in her world – and one can’t help but play this cinematic celebration on repeat.
“This one’s for my girls, my pow girls, and my mum,” Hill tells Atwood Magazine. “I worship your bravery and the sisterhood you bring me. Love always.”
She hits her high in a dynamic, sun-kissed singalong chorus, inviting all to join in on her revelry as she basks radiantly, relentlessly, and without abandon:
All my girls are tomboys
We’re showing up in convoy
Don’t blame me if I destroy you
I’m just copying your moves
Pull the ceiling down
All my girls are tomboys
“ALL MY GIRLS ARE TOMBOYS” arrives alongside the exciting new of Jo Hill’s upcoming debut album girlhood., set to release November 22nd via UROK.
“‘girlhood.’ is about wearing your vulnerability on your sleeve and being a badass bitch while doing so,” the singer/songwriter explains. “If there’s one thing I’ve learnt in the process of making this record, it’s that the best things happen by accident. They’re often unplanned, a hiccup that leads to a much more interesting moment, journey and story. This is the album I wish my mum gave me growing up.”
Running ‘round in circles
falling in and out of feminine
Taylor got the memo
that we’re going as fast as we can
Strike in with an upper cut
I’m putting on my boxing gloves
Dodging every swing so you
can watch me as I put ‘em up
As far as reintroductions go, “ALL MY GIRLS ARE TOMBOYS” is a breathtakingly bold, anthemic, and undeniable moment of musical and emotional alchemy – and the perfect return to the much-deserved spotlight for this fast-rising artist. Jo Hill excels when passion meets the pedal, and this song is high-energy heart-on-sleeve fervor: A cathartic release that moves us to sing, to dance, to celebrate the women in our lives, and to call out misogyny where we see as well. That a song can do one of those is an achievement in itself; that this does all four – and more! – speaks to the sheer talents of the one and only Jo Hill.
Bury my diamonds and cover my curves
Hide my distractions so I can be heard
Speak from my chest
but you’re reading the words on my shirt
All my girls are tomboys
We’re showing up in convoy
Don’t blame me if I destroy you
I’m just copying your moves
Pull the ceiling down
All my girls are tomboys
:: “Tiny Colored Pills” – allie ::
Mitch Mosk, Beacon, New York
As far as aching indie rock reveries and reckonings are concerned, “Tiny Colored Pills” is a brutal beauty. Taken off allie’s recently released second studio album Every Dog (September 27th via Anxiety Blanket Records), the searing song offers three unfiltered, unapologetic minutes of exhilarating anxiety and exhaustion. It’s the most aching feelings you’ve ever felt – about yourself, about your life, about what it means to be in and of this world – channeled into a tight, charming, and churning musical eruption.
I can only stand still
While you’re hurling around my head
From a windowsill
I’ve been looking towards my deathbed
If the city’s fine,
We can leave it
Let’s spend a paycheck
Like through your mother’s eyes
Don’t know how I’d get by without you
“Over the past three years, ‘Tiny Colored Pills’ is a song that has existed in various arrangements and presentations within the allie band,” allie’s frontwoman Allie Cuva tells Atwood Magazine. “Our hard drives still contain unreleased recordings of this song as a much slower, sparser, ballad-type thing, and also as a more lush, accompanied, live-tracked ballad, as well as this third and current version, which I’d consider more of an energized-to-distillation, uptempo bedroom banger.”
“If sad ballads are blue and rock music is red, then ‘Tiny Colored Pills’ is indigo as all get-out. Its roots of origin are planted in a slower, bare form, and yet its current and final form on the new Every Dog album seethes and simmers with a brighter, more propulsive energy that has finally surfaced and made itself known to us, emphasizing the urgency of its lyrics that deal with romantic idealization, suicidal thoughts, and recalling teenage years with a propensity for self-abandonment, drenched in a yearning to belong.”
“Now, the frayed-around-the-edges, DIY-style of recording reflects the spirit of a song that could’ve only been written from an unguarded, vulnerable place.”
Skyscrapers in the back seat
Wondering if you love me
I think you do
Doc martins on the concrete
Walk me through everything
How do you do it?
How do you do it?
Tiny colored pills
Help you paint what you want to see
Are you dragging the brush around
When you’re looking at me?
Cuva cites The National’s song “Apartment Story” as inspiring the uptempo drum beat and guitar tone, while noting how the vocals and lyrics were her way of getting some bubbling-under-the-surface emotions off her chest. “By itself, the drum beat smells of surf-rock (with a snare hit on the ‘two and,’ in addition to the expected ‘two’ and ‘four’ of the measure), but paired with the grit of eighth-note guitar strumming through a tube amp breaking up beautifully into your ears, a different character is achieved,” she adds, diving deeper into the song’s structure. “The drums feel buoyant and unserious while the guitar acts as a weight, grounding the instrumental. Also, the 4/4 measures are grouped in threes rather than in fours, which helps to create forward momentum and roll the listener right into the next section.”
I’ve been lost in a movie
Since I was fourteen, and i can’t get it back
Smoking before school
I’d have done anything for the feeling
Skyscrapers in the back seat
Looking like you love me
I love you too
Doc martins on the concrete
Walk me through everything
How do you do it?
How do you do it?
I become your breath
When I lean up close to your chest
“Tiny Colored Pills” doesn’t so much roll forward, as much as it runs, rollicking and ricocheting as passionately as possible as allie demand our undivided attention. The result is stunning: This song, alongside many of Every Dog’s tracks, leave us inspired, uplifted, and moved – eager to delve ever-deeper into allie’s warm, welcoming, and wondrous indie rock world.
:: “Holding Water” – ASH ::
Danielle Holian, Galway, Ireland
ASH’s Holding Water EP is a bold and genre-defying project that captivates listeners with its blend of R&B, rock, indie, and neo-soul. This fusion of styles allows ASH to create a sound that feels both fresh and dynamic, pushing beyond conventional genre boundaries. Her bilingual lyricism adds a layer of complexity, inviting listeners into an intimate world of emotional depth and exploration. The production is immersive, drawing on a wide range of musical influences while remaining cohesive and well-polished.
ASH’s distinctive vocal style is a standout feature throughout Holding Water. Her emotive delivery transforms her voice into a powerful instrument, conveying vulnerability and self-reflection with every note. The personal and introspective themes in her lyrics resonate deeply, exploring fleeting emotions and life’s transitory nature. With the added touch of Grammy-winning mixing engineer Jeff Ellis, the EP’s sound is polished to a professional shine, giving it a richness that sets it apart. This collaborative effort highlights ASH’s potential as an emerging artist, combining artistry, vulnerability, and technical finesse.
:: “Grin” – BAYNK ::
Josh Weiner, Washington DC
“You’ll be dancing, I’ll be grinning,” sings Jock Nowell-Usticke on “Grin,” a snippet from his freshly released sophomore album, Senescence. It’s an interesting concept at first sight– what might inspire someone to react happily one way, and the other person to react happily the other way? In the end, the lyrics reveal, what matters most is that long-distance lovers can be reunited and earn the jittery feelings of joy they deserve. “When I see your face, I feel electricity rushing through my veins. And I just can’t hold it back anymore. I feel love for you likе nothing I’ve ever fеlt before”-level of joy, moreover.
“This track was one of the fastest and most natural songs I’ve ever written,” says BAYNK, originally from New Zealand and now based in Los Angeles. “My longtime collaborator and friend, Rutger, started with the bassline and the rest just fell out of us. It immediately felt incredible and was finished within an hour or two, which is rare.” Contrary to the old “African proverb,” sometimes it may be able to go both far and fast together! Add what has to be one of the entertaining music videos of the year to the mix, and the title of this track is sure to appear on the faces of many music fans!
:: “I Look Alive”- Phoneboy ::
Julius Robinson, California
Do you ever feel like you are sitting under a microscope? Your insecurities seem as if they are on full display and you are at the mercy of swift judgment. Phoneboy’s single “I Look Alive” is a driving indie rock song for those who may feel dead within, while appearing alive on the outside. The band reveals, “When you’ve convinced yourself you’re not good enough or cool enough, it feels like everybody’s eyes are on you, judging every word you say and every move you make. Sitting in the corner of a party absolutely reeling, you hide behind a cigarette, a half empty glass, or a joke. In the moment, this works just fine but the feeling just builds inside you until it’s just too much to take.” The music video displays an 80s style zombie prom scene, which fits the track seamlessly.
Jordan Torres is a new addition to the group and this is the first track featuring her vocals. She also plays keys. The rest of Phoneboy consists of Wyn Barnum (guitarist and vocalist), Ricky Dana (guitarist and vocalist) and James Fusco (bassist). Their name was inspired by Dana’s constant phone usage. They take influence from Rex Orange County and the Arctic Monkeys yet possess a style that is truly their own.
:: “Nasty/(En)amor” – Saint Joshua ::
Danielle Holian, Galway, Ireland
Saint Joshua is back on the scene with his latest single, “Nasty,” a tantalizing R&B-infused pop track that showcases his undeniable talent and charisma. As the fourth offering from his upcoming mixtape, Self-(En)titled, set for release on November 15, this song further solidifies his position as a rapidly rising star in the music industry. The track is a masterful blend of infectious melodies and soulful lyrics, drawing from the rich traditions of R&B while infusing a fresh pop sensibility. With influences ranging from Usher to Frank Ocean, Saint Joshua crafts a sound that feels both timeless and contemporary, resonating deeply with listeners eager for authenticity in a genre often saturated with trends.
“Nasty” is a testament to Saint Joshua’s vocal prowess and songwriting abilities, effortlessly weaving together a narrative that is both relatable and engaging. The production is polished yet retains an organic feel, allowing his rich, emotive voice to take center stage. Each note is delivered with passion, inviting listeners into his world and making them feel every lyric. As he gears up for the release of, Self-(En)titled, it’s clear that Saint Joshua is not just another pop artist; he is a force to be reckoned with, blending genres and defying expectations. With “Nasty,” he invites fans to revel in his artistry and reminds us why he is a captivating figure to watch in the ever-evolving landscape of music.
:: “Angel” – NewDad ::
Marc Maleri, Connecticut
I was at a friend’s house party when I heard this song for the first time playing in the background, and I admit, I had a hard time paying attention to whatever conversation I was apart of; I was so charmed by NewDad’s “Angel” off of their most recent album, MADRA. The track is very moody and almost reminded me of something I’d hear about in a music community on Tumblr in 2014 with its dark lyricism and syrupy, atmospheric production. Every element, from the bass guitar to the vocals, embodies this unsettling tone, one that makes feel feel as if you’re wandering through a foggy forest; the song feels like it was made to be listened to during the fall, leaves on the ground with gloomy gray skies above, a slight chill in the air.
With lyrics like, “You’re kind, but I’m not / It seems I forgot how to care / About anything but my own despair / And you have a good heart / But I’m sure mine’s stopped / And it won’t restart,” sung with a solemn air by NewDad’s lead singer, Julie Dawson, the track is a satisfyingly melancholic moment meant to be played among the shift from summer to fall, fall to winter.
:: “Ground Control” – Moody Joody ::
Mitch Mosk, Beacon, New York
Moody Joody’s first song of 2024 is a spirited, seductive fever dream: A rush of radiant alt-pop ecstasy, “Ground Control” soars on anxious waves of raw, restless energy as the Nashville group reckon with life’s “modern mess” – that everyday ebbs and flow, trying to hold their head(s) high while “drowning in all this commotion.” “Ground control, I need an SOS,” lead vocalists Kaitie Forbes and Kayla Hall sing in an emotionally charged chorus, crafting a readymade singalong here to get us through the end of ’24 and into ’25.
Working for the man
I don’t understand
Who I really am
What is it all for
Sound the alarm
Throw my phone at the wall
Get a little high
In the bathroom stall
Drowning in all this commotion
I’m stuck going through the motions
Wipe away my digital tears
I’ve been doing this for years
How did I get here
“Somewhere along the line, ‘Ground Control’ turned into an upbeat anthem about being burned out from the monotony of working side jobs, stuck in a loop of dissociation and being dissatisfied with your current circumstances,” Kayla Hall tells Atwood Magazine.
“What’s more therapeutic than writing a rock-bottom banger?!” her bandmate and co-lead Kaitie Forbes adds. “‘Ground Control’ is for anyone who has hit their wit’s end in whatever artistry they are pursuing.”
Ground control
I need an SOS
Everything around me is a modern mess
At a table for one I’m a space cadet
Got nothing left it’s true
Ground control
I need a rocket ship
Take me off the earth
Somewhere off the grid
Out of oxygen
Got nothing left
Can someone send me to the moon?
Send me to the moon
Three and a half minutes rush by as Moody Joody deliver a cathartic, compelling upheaval. “Ground Control” is anything but ‘controlled,’ and we wouldn’t have it any other way: This is one anthem we can’t wait to shout at the top of our lungs.
:: Spectacle: Daisy the Great vs. Tony Visconti – Daisy the Great ::
Mitch Mosk, Beacon, New York
Kelley Dugan and Mina Walker seem eager to pass off as much credit as they can to their all-star producer, and that’s noble of them, but there’s no denying Daisy the Great’s real greatness on their fourth EP. Released at September’s end via S-Curve Records, Spectacle: Daisy the Great vs. Tony Visconti is a dynamic and dreamy 16-minute masterpiece highlighting the Brooklyn duo’s singular sound, and one that sees them continuing to hone those attributes that lend them such a unique voice – and a special space – in the greater indie rock and alternative music space.
Of their new project, the duo explain, “Tony Visconti is the kind of legendary producer you never think you’ll get to meet, let alone work with. He’s produced so many of our favorite records by our favorite artists. Any time people ask us who our greatest influences are, David Bowie is usually our first answer. He and Tony created so many iconic works full of personality, liveliness, and grit. Tony has such a good ear and specific flavor to his work. He is able to make things sound so alive and full without sounding muddy. Collaborating together was a huge bucket list moment.”
It’s true that 80-year-old Tony Visconti is a living legend in his own right, boasting an acclaimed 50+ year career producing music that continues to endure the test of time. He is responsible for a vast majority of David Bowie’s early, seminal albums from the late ‘60s and the mid-late ‘70s, and after the two reconnected in the 2000s, he produced Bowie’s final four albums, including the Grammy-winning Blackstar. However, his resume extends well beyond the Thin White Duke and includes work with everyone from T. Rex and The Moody Blues, to Paul McCartney (and Wings), Morrissey, and Fall Out Boy –among many, many others, Daisy the Great now included.
“We met Tony by chance last year when we went on our first ever European tour,” Daisy the Great share. “One of our tour stops was playing Reeperbahn Festival in Hamburg, where we were also nominated for the best new artist ‘Anchor Award.’ It turned out that Tony was the head judge (of many insanely cool judges) of the awards, and he’d seen our whole set the night before as well and was interested in working together. We were obviously cheesed and freaking out.”
“When we got back to the city, we hit him up and started writing songs together. We wrote these five songs over the course of this year and recorded them in a very natural and independent way pretty quickly after writing them. We recorded guitars and vocals in Tony’s studio in Chelsea and drums in Mina’s partner’s basement in Bushwick. This has been such a special opportunity, and we are so grateful that this project exists.”
It may have a ‘versus’ in its title, but Spectacle is all collaboration and absolutely no contention. The five-track EP deserves to be listened to in its entirety, as Daisy the Great rise and fall triumphantly over the course of sixteen spellbinding, soul-stirring minutes.
That journey begins with “All the People,” an immersive, enchanting, and beautifully expressive blend of Daisy the Great’s folk and rock sides that dwells in a space of introspection and yearning for freedom – a kind of release that we can only dream of achieving.
“‘All The People’ was the first song we wrote together with Tony Visconti,” Dugan Mina Walker tell Atwood Magazine. “We really didn’t have any expectations or plan when we started writing, but this song came out and shaped what would ultimately become this collaboration EP. It’s about wondering how you would live if you could forget about the constancy of time passing. Mina had the words, ‘I wonder how the time would pass, if I was never keeping track,’ so we started there. As we were writing, we started to hear the rumblings of a really epic bridge section in the back of our minds, and Tony kicked it off with this gorgeous, giant-feeling chord progression. We yelled over it until we came up with the ‘ARE YOU SO BUSY…running away from running out of time…’ section. We love that bridge.”
“The song as a whole was so much fun to write, and we’re so proud of it. It’s dramatic and pretty and has a ‘70s glam rock vibe that we’re obsessed with. Tony shredded bass and some guitar on the track, and Nardo and Matti played guitars and live drums. Tony also has a beautiful grand piano at his studio that Kelley played for this song. We also made a music video for this song running around NYC in our boxing gloves. We shot it all one night from 6 PM to 2 AM. The video was directed by James Dayton, who also directed the music video for our song ‘I’m Fine’ in 2019.”
From the existential longing and glitzy glam rock charm of “All the People” to the warmth and wonder of “Pretty Painting,” the restlessness and fervor of “Butterfly, Stay Dry,” the hypnosis of “Spectacle,” and the intimate enchantment of “Fireman!” (which concludes the EP on a definitive high), Spectacle: Daisy the Great vs. Tony Visconti is not only a notch on Daisy the Great’s belt, but also a captivatingly creative achievement for the NYC duo.
:: “Lost Path” – Three Years Younger ::
Danielle Holian, Galway, Ireland
Three Years Younger, the Suffolk-based alternative-pop duo, have returned with their latest single “Lost Path,” marking the lead-up to their highly anticipated EP, Pretty for Now. This radiant track showcases the sisters’ ability to blend evocative songwriting with ethereal vocal harmonies, making it a powerful start to this new chapter in their musical journey. Fans of Birdie, Lorde, and Imogen Heap will find much to love in their haunting melodies and intricate instrumental arrangements.
Produced and co-written by Charlie and Megan Simpson, the song begins with a striking combination of soaring harmonies, driving drums, and punchy guitar riffs, before settling into a more intimate, piano-led verse. As the track builds, layers of bass and atmospheric elements are carefully introduced, culminating in an explosive climax with emotive vocals and roaring guitars. The sisters’ impressive range is on full display here, both vocally and instrumentally, adding depth to the song’s unconventional structure.
“Lost Path” lyrically reflects the inner conflicts of youth, particularly the struggle between societal pressures and personal passions. It touches on the uncertainty of navigating life’s choices while pursuing a music career, adding a personal and relatable touch to the track’s emotive core. This single stands out as a poignant, cinematic experience, offering a glimpse into the talent and ambition behind Three Years Younger’s upcoming EP.
:: leaving behind everything you love – agile ::
Frederick Bloy, London, England
Emoviolence is one of those musical terms you hope never manifests into a tangible entity – it doesn’t sound like a particularly pleasant concept. Sonically, you would also be stretched to describe it as ‘pleasant,’ unpleasant here not being equivalent to grotesque, or ‘bad,’ just not inherently ‘comfortable’. agile’s newest EP leaving behind everything you love is a tempest at times: torrents of angular guitar daggerings claw at each other, whilst bellicose choruses of screams and howls rattle and clog the release, voices overlapping and coagulating into jutting sheets of barbed, aggrieved rainfall – droves that drown gutters.
However, there are always windows of repose within even the most vicious storms. Between the hulking masses of sound, the organised frenzies of agile, pokes tranquility, peace, reflection. The guitars are tamed, relenting into riffs from the creased and yellowing pocket notebooks of American Football’s Dave Kinsella, whilst songs transfigure into the most hypnagogic, sleepy visions of Duster’s Clay Parton. We are suddenly presented with an album that is not just frenetic, but somehow profound. Nostalgia rears, and a numinous, lingering longing for something left, or something lost, slinks in – and I cannot tell you what it is, or how it happens. Only that it is definitely there.
The doleful, clicking tape of a Spanish-speaking man illustrates this well. I, personally, do not know what he is saying – but I know how it makes me feel. When out of the morass, a single, spoken, unsullied female voice utters ‘when we’re older, let’s be astronauts,’ abandoned dreams hover in the ether once more. I have never wanted to be an astronaut, but the childlike purity of the statement I have felt. I, nonetheless, too marvel at the wonders that are up there, somewhere, in space. Perhaps the cacophony that precedes, and follows such a moment, is the indescribable desire to have those dreams of infantile fantasy, of adventure, of escape, and of the genuine belief that they could become reality, come back. Perhaps it is the craving to not have to leave quite everything that you love, however simple, however innocent, behind.
:: “Lost Boy” – Star 2, EH LA ::
Grace Holtzclaw, Los Angeles, CA
Star2 is a rising force in today’s hip-hop scene who uses his background as a Thai artist to elevate the stories of his people. Both Star2 and EH LA are artists who come from the Mae La refugee camp. Their new single “Lost Boy” recounts their shared experience growing up amidst violence, hunger, and poverty. It draws parallels to the story of Peter Pan and the Lost Boys and how the children still at the refugee camp today can find comfort in imagination.
“Lost Boy” comes alive with infectious beats, dynamic vocals, and nostalgic harmonies that echo the voices of children. Star2 and EH LA come together to unite over their common identity and hope for a better future for the Ka-ren people. Not only is this mission echoed through his music, but also in his actions. Star2 recently visited the Mae La refugee camp to connect with the present generation of children there. He confides, “We want to visit the camps and give hope to the kids who were once us.” “Lost Boy” sheds light on the experience of growing up in a refugee camp and instills hope for generations to come based on the strength, tenacity, and resilience of Star2 and EH LA as artists.
Star2 is committed to working with fellow Ka-ren musicians and using his voice to advocate for his people. He has previously collaborated with artists including Soulja Boy, $tupid Young, Mozzy, MBNel, Luh Kel, Lil Poppa, HoodTrophy Bino, YSN Flow, and MarMar Oso. “Lost Boy” is his latest release.
:: “Jackanory” – $ebbuku ft. ALINA ::
Danielle Holian, Galway, Ireland
Norwich-based rapper and producer $ebbuku’s latest single “Jackanory” is a vibrant fusion of raw storytelling and hypnotic production. The track’s soundscape is a unique blend of detuned piano, smooth saxophone, swing-heavy beats, and grounding bass that crafts an alternative aura from the very first note. With an irresistible chorus decorated by scratches and vocal cuts, “Jackanory” smoothly transitions into its verse, where $ebbuku seamlessly moves between melodic vocals and his signature laid-back yet angsty flow.
What truly stands out in “Jackanory” is how $ebbuku channels his passion into every bar, using his dynamic, bass-driven hip-hop as a vehicle to convey personal stories and lived experiences. The track’s nostalgic nod to old-school hip-hop is evident, yet it retains a sharp, post-punk edge that adds grit and depth, harking back to his earlier work. This creative evolution highlights both his dedication to craft and an exciting shift in style.
Overall, “Jackanory” feels like a pivotal moment for $ebbuku, reflecting his growth as an artist while showcasing his vast potential. Its infectious beats, clever vocal delivery, and compelling storytelling make it a standout release that cements $ebbuku’s place in the alternative hip-hop scene.
:: “Win U Over” – Kiki Holli ::
Chloe Robinson, California
KiKi Holli’s daring dance anthem “Win U Over” is a vibrant work for anyone who knows what they want and is determined to go for it. The penetrating piece takes her gift for storytelling and combines that with infectious grooves that are easy to get lost in. There is a dark, sexy feel to the song that listeners deeply gravitate towards.
Los Angeles indie-pop/rock artist KiKi Holli first explored the Nu Disco genre with her track “Pretty Boys.” “Win U Over” is equally as electrifying. Her musical influences include artists such as Bowie and Prince. The spirit of those legends can be heard in this sparkling single.
:: “Sick of Your Face” – Sandhouse ::
Mitch Mosk, Beacon, New York
There’s nothing like a white-hot indie rock slow burn to get the blood boiling; thankfully, Sandhouse’s debut single is sure to rise our internal temperatures as we sing it on repeat. The brand new duo from South London dwell in a space of raw inner churn on “Sick of Your Face,” a roaring, soaring exhale of pent-up energy and emotion that hits hard and aches relentlessly. It’s a spectacular introduction to Anna Sutherland and Caspar Holloway’s new project, and one that definitively puts Sandhouse on the ‘indie radar’ right at the start of their career.
Is this the end?
I get bored when you kiss me.
I’ll play pretend,
tired of hurting your feelings
Boy you look lost,
crossed your legs on my bedsheets
But I’ve ticked off all the ways
you can get to me
My love, you failed at what you could have been
I played the game but didn’t mean to win
You stayed we fought but I can walk away
There’s nothing more so give it up
Getting sick of your face
It actually feels quite fitting that this track would serve as a band’s debut, as it finds them (metaphorically) trying to cut off the dead weight of their past while eyeing the future… to a degree. “‘Sick of Your Face’ is a song about the anger and apathy that results from lugging round half-dead relationships – selfishly pretending to love because you can’t quite face yourself alone,” the band explains. “We wrote the song last year with Caspar’s brother, Isaac. The lyrics had a couple of iterations, but got meaner and meaner each time. It was cathartic to write from the perspective of the worst version of yourself.”
We’re tangled up, did I give you some issues?
Fooling around, saying things like I miss you
I show your texts, to my friends they all hate you
But part of me thinks,
that we could still have a breakthrough
My love, you failed
at what you could have been
I played the game but didn’t mean to win
You stayed we fought but I can walk away
There’s nothing more so give it up
Getting sick of your face
Is there a line more sinister than “My love, you failed at what you could have been“? Is there a phrase more poignant than “There’s nothing more, so give it up“? For the narrator, the race is over, but for Sandhouse’s story, it’s just begun. Anna Sutherland’s glistening, emotionally charged voice soars over heavy drums and fiery electric guitars, enchanting as she unleashes a storm of feeling on listeners’ ears and hearts. Needless to say, we won’t be getting sick of Sandhouse any time soon, and we eagerly await whatever comes next from these South London newcomers!
:: “Apple” – Market ::
Mitch Mosk, Beacon, New York
Market’s songs have always hit hard, yet the latest string of tracks born from Nate Mendelsohn’s mind feel extra intimate, extra visceral, and extra special – starting with the dreamy, dramatic, and utterly delectable “Apple” (released in August) and its expression of familial relationships, personal growth, and the muddiness of life.
Dad had picked you up
In that parking lot
Just 6 minutes after
you’d been told to meet him there
You were running late
I guess he’d been waiting
He lit into you saying you gotta be prepared
The song is billed as a sequel to “Bag of Jeans,” the opening track off Market’s 2022 album The Consistent Brutal Bullshit Gong that begins with the line, “Understand we’re all turning into our parents, but you’re not the same as your mom, it’s the thing that you fixate on.” In “Apple,” Mendelsohn explores a situation between his twin sister and his father, deconstructing the phrase “the apple doesn’t fall far from the tree” in the process.
I guess you broke down
How could he not know by now
The frightening percentile of merit that you’re in
I mean he made you
You are the f*’ed up apple
that he carved at with his own tooth
It’s his mess that you’re in
But the ripest piece of all is that you
Rushed there like a maniac
Stressed out anxious broken back and still
Just 6 minutes late
You’re freakin out but 6 minutes is great
“[This is] a story song about a conflict between my twin sister and my dad; my sister recounts the story to me, and I assign it magical meaning, an extended metaphor of ‘the Apple doesn’t fall far from the tree,” Mendelsohn tells Atwood Magazine. “My father gets mad at my sister for being good instead of great when she arrives somewhere six minutes late. I was born six minutes after my sister … my father made us who we are in every respect, and made us elite in a specific way (compulsive, focused, obsessive, intentional, punctual, planners, doers), but it can never be quite enough because he is, of course, that way himself. Can’t he see that we are him? I am cursed to a life of being just a hair behind her (the fateful six minutes), which is fine by me.”
“Lyrics of note: ‘I mean let’s break it down / how could I not see by now? / the frightening percentile of gifts the apple gave / and sure the curses / the bruised and broken edges where the fruit is at it’s worst is / just part of how we’re made’ … a sequel to “Bag of Jeans” from the last album. Nature, nurture, genealogy, identity, family mythology, meaning-making, frustration and appreciation. Musically, trying to mix a specific sort of half-time post-Neil roots rock with a specific groove from a Frank Ocean song. The song ends with a Bach-like counterpoint orchestral outro, which Stephen wrote over chords I gave him.”
“Apple” is a poignant tune that aches from the inside out as we feel the pangs of history continue to affect our present, real-time experiences; you can try the best you can to create space and boundaries where you need them, but ultimately, so much of who we are is (and has already been) dictated by forces outside our control, and when it comes to our parents, well, in some respects we’re at their mercy. “Apple” is in some respects bittersweet, in some respects whimsical and wondrous; but however you slice it, there’s no denying the raw emotion lying at its core.
:: Bystander – Eric Dash ::
Julius Robinson, California
Singer/songwriter Eric Dash’s new album Bystander is a soul-searching 13-track body of work that will have you glued into his emotive journey. Beginning with “Two Steps,” the upbeat piece is all about a shaky relationship. There is uncertainty at every corner but it is too hard to give up. His intoxicating tone will grip you with each driving note. Another fast paced standout is “Good With It.” The cheerful, relaxing Jack Johnson style offering, details feeling good with the one you love. After hearing the song you will definitely be good with it. Slowing it down with “Learn From The Last Time”, the glistening guitar and impassioned vocals draw listeners in through its raw intensity. The track is a stunning tale of doing everything right for someone who constantly falls for Mr. wrong. These and other moving songs make Bystander a must listen.
The New Jersey native has seen some success in his career. At only 23, his single “One More Love Song,” produced by Jack Joseph Puig (John Mayer/No Doubt), exploded on Youtube. Dash also had the pleasure of touring with Heffron Drive, fronted by Kendall Schmidt from Big Time Rush. With this latest record, he proves he continues to strive towards greatness.
:: “Nights Like These”- Jordan Duffy ::
Chloe Robinson, California
Opening with smoky saxophone skillfully executed by Trey Magnifique, Jordan Duffy’s “Nights Like These” concocts the perfect amount of eerie and nostalgic. Her deep sultry vocals ascend over shimmering beats and we are instantly hooked. Her ’80s style ambiance provides the perfect level of longing to fill our nostalgia craving. The nightmare filled music video comes just in time for Halloween. The offering is inspired by 1980s horror flicks.
Jordan Duffy is proficient in many areas of music. A singer, songwriter, producer, and senior audio engineer, she is a true force to be reckoned with. Duffy beautifully blends indie, pop, americana, and alternative. She is a Worcester, Massachusetts native who began her music career writing songs about heartbreak, one night stands, and zombie lovers. Now she has kept those spooky feels going with this powerful and haunting track.
:: “All Black Mansion” – LEXXE ::
Josh Weiner, Washington DC
The title of the track and its accompanying album (A Haunted House), as well as the name of the label she’s on (“DISCO WITH RECORDS”) definitely hints to the prevailing theme of LEXXE’s new music. Once you actually turn the song on, though, you’ll hear that theme illustrated to an even fuller and ghastlier extent. And that’s saying nothing of the music video that brings this bold vision of said “All Black Mansion” to startling life.
“I’ve always used terms like the ‘afterlife,’ or a ‘haunted place’ for our minds,” says LEXXE. “I am so intrigued by how we move through so many different phases of life that stick with us, stored in our minds and sometimes not remembering them at all until we’re scared, and then we’re haunted by ourselves. I wanted to go within myself and find what is haunting me, make it real and visual and write it all down. That’s the album.” For a fitting preview of that album and its principal thematic territory, tuning into “All Black Mansion” will do just fine.
:: “Whatever Daddy Says” – 808 Beach x Amy Douglas ::
Chloe Robinson, California
808 Beach’s electro single featuring vocals from Amy Douglas is a thrilling, feel-good track that will have you saying… “Yes daddy!” Entitled “Whatever Daddy Says,” it is sure to get your heart rate up. Sassy vocals soar over shiny disco beats for the ultimate danceable delight. Clever, cheeky lyrics include, “I keep my options free. That’s how I wanna be until the end. Until that special ring. I’ll do anything for my special friend.” We all know what it’s like to have a little spicy fun while dating and this song boldly embodies that. The piece evoking vibes of songs like Crystal Waters “100% Pure Love,” is also a great reminder to just let loose and be carefree.
808 Beach is a colorful collaboration of NYC’s Bill Coleman (Sinéad O’Connor and Lenny Kravitz) and UK musical prodigy John “J-C” Carr (Zayn and Christina Aguilera). Amy Douglass has also made her way in the scene teaming up with musical greats like Róisin Murphy, Horse Meat Disco, and The Blessed Madonna. Together they create the perfect amount of fiery zest. “Whatever Daddy Says” is one to play on repeat.
:: “Losing You” – Cormac Looby ::
Mitch Mosk, Beacon, New York
Irish singer/songwriter Cormac Looby has put into song one of those deep-seated existential fears that keep so many of us up at night: The dread of losing someone we love. Death is final – and its grief everlasting – but the fear of death, or loss of any kind, can haunt a soul relentlessly, consuming our thoughts and holding us back from living in the moment and actually enjoying the time we have with the people we love and care about the most in this world. And sure, maybe there’s no cure for those anxieties – just as, ultimately, there’s no way to avoid loss; it’s just an intrinsic part of life itself – but there’s no doubt that it helps to have it in song, and “Losing You” is all-in on those painful thoughts and visceral feelings.
I’ll go
Cause you won’t wanna know
That I am not
The person you grew up with
And I get no rest these days from sleeping
Cause I’m always f*ing dreaming
I get no respite from the feeling
That the end is near
Oh this is the end
“‘Losing You’ is a song that explores the fear that surrounds potentially letting certain people go from your life,” Looby tells Atwood Magazine. “Heavily inspired by The National and Sam Fender, the song was written after returning to Ireland from seeing The National perform abroad. It captures the difficult realisation that, one day, moving away might mean saying goodbye to certain people for good.”
And after those nights out
You’d ask how did you get on man
Knowing full well that I have problems like that
But you don’t know the half of it
“Losing You” is Looby’s third track of 2024 (following the songs “Angel, Baby” and “Ordinary Woman”), and the latest single taken off his forthcoming debut album, A Perpetual State of Irony, set to release before year’s end (date TBA).
“The track definitely stands out from the other more folk-infused songs on the album, but I don’t think to date I have written a song with this much energy, and so I felt it had to be included,” he says of “Losing You.” “It has become my favourite to play live, and I hope it’s one that audiences will be able to connect with.”
And now to all my friends and family
I never thought I’d say goodbye like this
And though I’m speaking hypothetically
In my mind, I’m flying
While there are certainly elements of The National’s brooding indie rock rippling through “Losing You,” I would argue the song is also reminiscent of The Smiths’ charm and churn; one can hear echoes of Morrissey in Looby’s voice, and in how he channels his innermost intimate emotions into spirited, soul-stirring music. “Losing You” is not only a great introduction to this young Irish artist, but also a fantastic release of raw feeling that speaks to a universal part of our shared human experience.
And when all of this is over
And we all fall back asleep
None of it will matter
No one will remember me
And all the time I wasted
Up inside my room
Too afraid to take it in
And too afraid of losing you
When all of this is over
And we’ve all fallen back asleep
Not a bit of it will matter
No one will remember me
In all my smallest days
Standing in my room
Too afraid to say something
:: “What Should’ve Been (By Now)” – Natalie Del Carmen ::
Mitch Mosk, Beacon, New York
The great thing about being in your twenties is also, for many of us, the most anxiety-inducing aspect of our twenties. You’ve got worlds of possibility and potential ahead of you, and every action – every decision – can open you up to something fresh and new. So what do you do? How do you choose? How do you tell right from wrong, good choice from bad; where do you put your energies, spend your time, invest yourself? Asking questions for which there are no easy answers is never an ‘enjoyable’ pastime, and yet it’s the only way to find some true clarity, especially when everything around us (and within us!) seems so uncertain. For singer/songwriter Natalie Del Carmen, those would’ve, could’ve, should’ve reflections form the basis of her latest single: A dreamy, driving Americana song lost in thought and steeped in feeling, “What Should’ve Been (By Now)” is a raw reflection from a tender heart just trying to make her way, and find her place in the world.
I’ve been on myself, I’ve been on my case
What a minor detail of heartbreak
On the landscape I’ve been painting on since June
I’m stuck between today and old days, shining
But, I’d do my life, in hindsight the same
And I wouldn’t care about your say
In the choice I’ve made,
I’ve made all on my lonesome
Pinned between what should be and unknowing
No, I don’t know what should’ve been, by now
“This song has meant a lot to me since first writing it earlier this year, because it’s really summed up exactly where I’m at in life, and how I’m feeling,” Del Carmen tells Atwood Magazine. “Sometimes you write music that eventually catches a glimpse of being fully realized through production, but there can often be some time in between writing and finally releasing something that it’s easy to feel sort of removed from it eventually. What’s great about being in my twenties and doubting life all the time is that my ‘should have beens’ will always find me around every corner, so I think this track will always feel real and new to me in this decade.”
“Working with the Brunjo team down in Nashville, TN will always make a song feel like country-Americana galore, but this track specifically got to be magnified by Stephen “Tebbs” Karney on pedal steel. Hearing him track really felt like breathing for the first time, as cheesy as that reads. It solidified that I really find peace and a smile in the way things are sounding in the music these days. “What Should’ve Been (By Now)” is really for all the things we’ve done, did, and didn’t do in our lives, and a reminder to be at peace with our hypotheticals. The grass will always look green and lush where we didn’t get to go.”
Could’ve took that job, could’ve seen that pay
On a bi-week stub on a pay grade
But I found the latter long way more inviting
So I fell in love, and I made some friends
And I lost some years, oh beside myself
Oh to heavens, no grief for what had might been
Might’ve seen the south on a summer day
And booked pedal speeds down a highway
Out to Nashville, or somewhere outbounds of West LA
I’d do my life, in hindsight, all the same
And I wouldn’t care an ounce about your say in it all
In the choice I’ve made, I’ve made all on my lonesome
I don’t know what should’ve been by now
How could I know what should’ve been, anyhow?
We’ll never know if the decisions that we’re making are the “best” decisions, but if we trust our guts, follow our hearts, and use a bit of common sense (at least every now and then), the best we can do is stand by every action, knowing that it was right for us in the moment and at the time. The future will forever be uncertain, and Del Carmen will come to find the words she sings in “What Should’ve Been (By Now)” will feel as relevant for her in her twenties as they will in her thirties, her forties, and her fifties; because we never stop looking ahead and behind, wondering if we’re on the right path, headed down the right track, making the right calls.
Still, it’s nice to have a song that channels all our existential uncertainties into one big cathartic, invigorating, emotionally charged release.
And the plans I’ve made,
I’ve made them on my own way, anyway
On my own time, it’s my lifeline
Not your poker chip to play
And I guess this means I’m finally looking forward
Oh, but sometimes I’m still turning back around
I smile upon my laughters and I’ll smile for where I’m after
But, I know just who I’ve been and who I’m now
I don’t know what should’ve been, by now
I rest what could’ve been right down
What is, is all it ever is, right now
I don’t know what should’ve been, by now
At just 23 years old, Natalie Del Carmen is a rising voice in the roots music world; her 2023 debut album Bloodline highlights her talents as an emotive, deeply expressive singer and songwriter, as does the Tandem Songs EP she released later that same year. “What Should’ve Been (By Now)” is Del Carmen’s fourth track released in 2024, following “You Weren’t Even Listening,” “The Highway,” and “Good Morning From Magnolia,” each of which deserves listeners’ time and attention. With a heightened level of self-awareness, a keen ear for warm melodies, and a relentless desire to understand both herself and the world around her, Natalie Del Carmen is an artist we’ll be paying extra close attention to over the months and years to come.
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