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 Bluphoria, Pom Pom Squad, Shawn Mendes, North Arm, heavn, The Symposium, mau from nowhere, YARD, Peach Pit, Flyght Club, Peter Elkas, Bo Milli, Laughing Cats, MVI, Noshows, Prima Queen, The Dionysus Effect, Lucky Iris, Kita Alexander, HEXX, Joyer, 9T7, Hamish Donald, and buster and the pigeons!
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:: “Spiderweb” – Bluphoria ::
David Diame, Kalamazoo, MI
The Pacific Northwest group, Bluphoria, come back with a stellar new standalone single in “Spiderweb,” a song that continues to showcase their style of alternative rock and roll. The band’s sound, shaped by blues and psychedelia, feels whole-heartedly classic from the get-go, bringing listeners into a soundscape of familiarity while also introducing them to a fresh new take on the music. Ever since 2019, Bluphoria have been throwing their listeners some undiluted rock and roll music.
“Spiderweb” is an exciting entry in Bluphoria’s lineage, being a straight-ahead, feel-good song with its blissfully punchy, rollicking feel. It’s invigorating how lead vocalist/guitarist Reign LaFreniere yelps against the stabs of guitarist Dakota Landrum and his own power chords, how drummer Mia Roth and bassist Rex Wolf keep the groove going with gatling gun-like drum fills and steady bass parts in that explosive chorus, and how the electronic organ’s stabs serve as a harmonic backbone for the whole track. All the parts meld with each other wonderfully, showcasing how well the band has gelled as a unit in their time together. It sounds so expertly crafted, that one may confuse it for simplicity; however, the sound showcases a band performing in their prime.
Bluphoria’s been bringing this blend of classic-sounding modernity to our ears since 2019 with other phenomenal releases, from 2020’s “Kaleidoscope” to the full-length debut Bluphoria in 2023. We can only hope to see where “Spiderweb” is leading us next in Bluphoria’s journey through their own sonic universe.
:: “Downhill” – Pom Pom Squad ::
Beau Hayhoe, New York, NY
A so-called “sophomore slump” is out of the question for Mia Berrin and Pom Pom Squad – at least, new album Mirror Starts Moving Without Me seems destined to take on any talk of a letdown from the rave reviews of 2021 debut Death of a Cheerleader. At a buzzing Friday night show in recent weeks at famed NYC venue Mercury Lounge, Berrin lit up the stage and showcased spirited new tracks like “Downhill,” which already feels comfortable as a spiky live single.
There’s a slight pop edge to these tracks, while Berrin’s 2021 debut leaned into punk, but it never feels overwrought either way (that goes for single “Downhill” as well as the rest of the album). Listeners seem to agree – the track has netted more than 400K live streams to date, and Berrin’s stage presence is as lively and vibrant as ever. Twists and turns tend to take their toll, but Berrin has emerged unscathed out the other side as the hype around her second LP as Pom Pom Squad continues to build.
:: “Heart of Gold” – Shawn Mendes ::
Rachel Leong, France
Ahead of his highly anticipated self-titled album, Shawn Mendes has been rolling out a new single every few weeks. The latest in this recent spade of releases is “Heart of Gold,” a gorgeous spinning track about grief and reminiscence.
With this rollout, Mendes’ new sound sits in its atmosphere with a sense of surety and proclamation. Shedding his clean-cut image for a rugged aesthetic, his new material follows suit. Leading with acoustic guitar and instrument-heavy musicalities, the depth in Mendes’ lyricism shines through unapologetically. His new material encompasses the-man-and-his-guitar on American landscapes, à la Springsteen, and “Heart of Gold” sees Mendes in a room of warm hues, glimpses of Mendes to be caught through wisps of smoke. Lyrics like “Brian said he broke down, but he promised it was beautiful” and “we shot for the stars, I see you up there” lead with an artistic maturity and poise that resonate instantly.
Mendes, to me, has always been an artist that moved with the times. His latest departs from the times – in the best way possible. As he hones classic sounds to curate his individuality and sound, it is exactly what the music world needs at the moment. It’s an exciting time for Mendes, as he re-introduces himself to his audience, and we’re excited to hear what’s to come from his creative musings.
:: “Everything You” – North Arm ::
Mitch Mosk, Beacon, New York
When our hearts are heavy and our souls ache endlessly; when the life we knew feels alien to us, and we’re lost, adrift at sea, how do we hang on? North Arm’s “Everything You” is a tender song of love and light, support and solace. It’s a kiss in the dark; a gentle squeeze of a hand; a warm blanket of knowing and understanding from the person who knows us best, and can help us get through the worst.
When I think that I’m falling through
It’s everything, everything you
And I’m looking for something new
It’s everywhere, everywhere you
I’m not sure if it skipped my mind
Or maybe I don’t have the time
Making sense of a changing view
Of everything, everything you…
“The inspiration behind this song, like all of my songs, is personal experience and things that are happening in and around the writing process,” North Arm’s Roderick Smith tells Atwood Magazine. “Around the time this song was written there were some really difficult personal losses of friends and close family. So, on one level the song reflects on that. Family friends, parents, pets all passing on in a string. It was really hard.”
“On another level it’s a song of comfort for my wife, Marley, having lost her Dad and then our beloved puppy in quick succession. It’s just a terrible time, and it was really important that we supported each other through it.”
And all the sadness that you save
And all the seasons washed away…
And all the sadness that you save…
I’m going where you are
And all the sadness that you save
And all the seasons washed away.
Life will not always go our way. There will be plenty of stumbles, hurdles, mountains we can’t climb and rivers we can’t cross. Yet we can always rely on our loved ones to help us persevere and endure; to get through hardships and find our new normal, whatever that means in the moment. Sometimes you just need your ‘person’ at your side to know that things will work out how they’re meant to, and that’s what “Everything You” is, in a nutshell: Hope, light, and love, manifest in one dreamy indie folk song.
:: “say you hate me” – heavn ::
Mitch Mosk, Beacon, New York
The fire within burns, aches, and rages in heavn’s latest single, and rightfully so: Sometimes, we can’t just relax; we can’t compartmentalize our so-called ‘problems’ and be happy, easy, joyful, and bright. Released October 25th, “say you hate me” is an emotionally charged, angst-fueled fever dream.
I know you very well
I know that you won’t tell
I lost all my wishes
I’ve been wishing on my wishing well
Thought I was fixing something
All along, Im fixing nothing
Told me to listen up
But all along, I’m listening
“‘Say You Hate Me’ captures the raw emotions of breaking free from a toxic relationship,” Rochester, New York-based heavn tells Atwood Magazine. “It’s an anthem of defiance and self-empowerment, blending indie rock’s intensity with heartfelt lyrics. The track explores the tension of rejection while ultimately finding strength in letting go, reflecting my journey of self-discovery and emotional resilience.”
He continues, “One night I was just playing guitar and watching visuals for Gorillaz and laid out the instrumental and when I get to writing, my subconscious mind takes over. The narrative expresses not being able to just have fun and set aside drama and politics, even if it is just for a night. I feel like it holds some of us back, not being able to just let go and forget with friends. On that note an artist once said, ‘I don’t see how you can hate from outside of the club, you can’t even get in.’”
Clocking in at under two minutes, “say you hate me” is here and gone in a flash, but it leaves an instant impact on the ears and the heart. Not only does heavn offer an intoxicating mix of alt-rock, grunge, and bedroom pop, but his performance aches inside and out with raw, candid, unfiltered emotion. At just 20 years old, he is both an artist full of promise and one we will be paying extra close attention to over the months and years to come.
:: “Light Speed 2” – The Symposium ::
Frankie Rose, Quebec
The Symposium are back with a new single that explodes through our speakers with addictive energy. The group from Chicago, who released their second album (titled The Symposium) in 2017, make simple and catchy music that feels like the luminosity of a city when nighttime arrives. “Light Speed 2,” released October 31, is a great introduction for those who are yet to discover the band, and ends in classic Symposium style with a playful outro.
“At the right time, at the right place, puts the magic in the chase. It’s unusual to say the feeling that comes your way,” goes the refrain, which has been stuck in my head the past couple of days, especially this morning while on a run. With the cold early November air slapping my ears, it gave me the eagerness to run faster, as though all obstacles can be beaten. ‘What do I do?/ Sit here and think/Sit here and wait/ What do I do, baby sit around and think’ repeats frontman Charlie Gammill throughout the song, the lyrics suggesting less determination to be fearlessly in control despite the light-hearted assertiveness of the music.
The Symposium spent the autumn touring North America with the group Summer Salt. According to their Instagram, a new album is in the process and will be released soon. Yay.
:: Soft Steps – mau from nowhere ::
Danielle Holian, Galway, Ireland
mau from nowhere returns with Soft Steps, a seven-track EP that elevates his afro-fusion style to new heights. Drawing on influences from his upbringing across Nairobi, the UK, and the Netherlands, mau blends afrobeats, R&B, indie sounds, and the pulsing energy of club music into a cohesive and atmospheric sound. This latest project sees him shifting from rap-centered expression to more melodic storytelling, exploring themes of love, self-discovery, and introspection with both urgency and finesse. Each track feels like an invitation to join him on this journey, rich with emotion and a sense of discovery.
With Soft Steps, mau from nowhere creates a lush, expansive soundscape that balances airy, serene production with heartfelt, soulful lyrics. The EP showcases his talent for collaboration, with standout contributions from artists like Jay James on “Restore,” MAUIMOON on “Remind(h)er,” and Sute Iwar and NAiLA on “By Your Side,” This collaborative spirit enhances the project’s depth, inviting listeners into a unique blend of afro-fusion that is introspective yet vivacious. Soft Steps is a testament to mau’s growth as an artist, pushing him confidently into the unknown while staying true to the inventive energy that first captivated his fans.
:: “Call” – YARD ::
Danielle Holian, Galway, Ireland
Irish electro-noise trio YARD returns with an electrifying new single, “Call,” a dark, high-energy blend of techno beats and electronic rock that showcases the band’s aggressive and genre-defying sound. Known for their intense live shows and the enigmatic mascot “Bucketman,” YARD has quickly gained a reputation for delivering immersive sensory experiences that push the boundaries of post-punk and electronic music. ‘Call’ follows the success of their previous single, “Bend,” and solidifies YARD’s place as one of Dublin’s most exciting new acts, delivering a euphoric anthem that delves into the raw imperfections of the human condition.
Sonically, “Call” is a relentless force, combining pulsating electronic beats, screeching vocals, and hypnotic soundscapes that explore the tension and introspection of regretful reflections. The single captures those moments of replaying painful memories, reflecting on how differently things could have gone. For fans of Fat Dog, Chalk, and Gilla Band, YARD’s latest release will be particularly captivating, as it echoes the intensity of influences like SUUNS, Death Grips, and Nine Inch Nails. With a strong festival lineup already under their belt—Eurosonic, The Great Escape, and Primavera Pro 2024—the trio is proving themselves a potent force in the post-punk and electro scene, taking their dark, thrilling sound to an ever-growing audience.
:: “Wax & Wane” – Peach Pit ::
Marc Maleri, Connecticut
Peach Pit released their 4th album, Magpie, earlier this month and nothing has changed about the quartet’s ability to consistently craft moving indie-rock jams. This album contemplates everything from relationships with past lovers to sobriety all while interspersing introspective lyrics with their brain-scratching instrumentals, guitar solos and perfectly placed drumming bits never failing to make a Peach Pit track a uniquely satisfying listening experience. For me personally, one of the most impactful songs off the album is the penultimate track, “Wax & Wane.”
“Wax & Wane” is an instance of Peach Pit at its best, the lyrics providing just enough that you feel connected to the narrative being told by lead vocalist Neil Smith, but withholding the right amount so that there’s room for it to fit in your own lived experiences. A track about someone whose presence is just as fleeting as it is consistent (and the complexities that comes with that dynamic), “Wax & Wane” is made even more emotional and effective in its storytelling through the instrumentals that marry particularly well with Smith’s vocals, the intensity of a particular instrument mirroring the emotion that comes through in the lyrics and the particular part of the narrative listeners find themselves in within the track. “Wax & Wane” is just one of the many Peach Pit tracks that will carry me through the Fall and Winter season, their talent ever present and important.
:: “Nobody Else Knows” – Flyght Club ::
Joe Beer, Surrey, UK
Los Angeles based artist Flyght Club, a.k.a Shauvik Sharan, recently unveiled his latest single “Nobody Else Knows,” serving up a funk-fueled track that is the ultimate ear-worm. The infectious release narrates the artist’s obsession with a girl who has an alter-ego behind closed doors. When she’s with her friends, she plays the sweet and innocent role, but with a flick of the switch she becomes wild and devilish when no one else is looking. The songwriter is the only person who bears witness to this different side and he can’t help but love that nobody else knows, sharing, “There was a side to her that only I knew and it was so unexpected but fun to experience this.”
The melodic guitars in “Nobody Else Knows” almost act like a second vocalist, as they playfully dance alongside Sharan’s silky voice. The foot-stomping beat and colorful instrumentation creates the ultimate dance-worthy track. Sharan shares, “The goal with this song was to make honest music, going back to my roots with giving importance to the electric guitar, both in terms of production and songwriting, while still making something groovy and fun that people can dance and sing along to.”
:: “SWEET SPOT” – Peter Elkas ::
Mitch Mosk, Beacon, New York
You’d be forgiven for mistaking Peter Elkas’ latest single for some long-lost hidden gem from the 1970s; with its warm production and instrumental arrangement, “SWEET SPOT” calls to mind the likes of America, Rod Stewart, Chicago, and so on. It’s a dreamy, sun-kissed soft rock song that seduces the ears and stirs the heart at once as the Toronto-based singer/songwriter and producer reflects on life in broad strokes, exploring who we are, why we are, and most important of all, how we can strive to live well.
It’s tough
When it doesn’t seem enough
What about the touch? What about the sweet touch?
You want love
But what you’re asking’s way too much
What about the touch? What about the sweet touch?
There in the air
There’s something that you share
A golden glow
It takes a hold and then you’ll know
You’re in the sweet spot
You didn’t take it all the way
But now you’re in a better place
You’re better off to stay
Sweet spot
“The painter Harold Feist was my friend,” Elkas tells Atwood Magazine. “He lived a life I admired and when he passed away I was moved to express my appreciation of his influence on me with this song. ‘Sweet Spot’ is a grateful description of the life I try to keep. It’s about the often-unappreciated space in between wants and needs and the fruits that grow from seeds unwittingly sown. Recognizing the sweet spot is harder than it sounds and keeping it is even harder.”
“Self-recorded and self-produced in my Toronto studio The Nest, the song is musically inspired by RnB groups like the Chi Lites and the Commodores. I indulged in arranging and singing all the vocals. I did an impression of Michael McDonald‘s vocal approach in the outro one night for fun and then found I couldn’t take it out of the mix. I am proud of the guitar solo and the work of my band in the rhythm section (Gavin Maguire – drums, Jeff Heisholt – clavinet, Jeremy Little – bass). This song was a labour of love and is a meeting point of the styles that make up my musical constitution. I guess you might say it’s the sweet spot.”
You’re broke
And it’s not even a joke
Spent all of your time,
spent all of your sweet time
But you’re rich
‘Cause you found a little niche
Where you spent all of your time,
spent all of your sweet time
There in between
Ambition and a dream
There’s an accident
Somebody put you in
Hard times in the sweet spot
Maybe it added up to that?
You helped a friend down on his back
Just when he finally painted black
Hank was in the sweet spot
Sweet spot
With its honest, storytelling lyrics, golden harmonies, and bold melodies, “Sweet Spot” really does scratch a special itch – warming the ears, the heart, and the soul all at once as Peter Elkas dwells – no, basks – in a beautiful moment of connection with an old friend, with himself, and with the world at large. May we all strive to find and embrace our own sweet spots.
:: “Come After Me” – Bo Milli ::
Mitch Mosk, Beacon, New York
The dreamy and the dramatic collide in Bo Milli’s radiant “Come After Me,” a romantic indie pop enchantment that feels as seductive and stirring today as it did upon its initial release last year. Featured on the Bergen, Norway-based indie rock artist’s debut EP Making Friends, the four-minute track aches and rages at once as Milli dwells in a softly, sweetly sun-kissed reverie. We don’t always knows if our live interest feels the same we about us as we do about them… but isn’t it fun to dream aloud?
On the tip of your tongue
I’m thinking the truth
is that you don’t want anyone
You let me leave alone
I wonder what you doing
As I’m walking on home
I look over my shoulder
I look over my shoulder
Don’t want you to say anything
Just come after me
I’m on my own
Overthinking
Looking down the street
Hope to see you following
“On ‘Come After Me’ I’m fantasizing about a big romantic gesture from someone I’m worried might not be that interested,” Milli tells Atwood Magazine. “I’m walking home from a party they’re still at, overthinking the whole night and feeling that if they come after me, that’ll somehow prove we’re on the same page. Although I haven’t told them how I feel, I hope they’ll know to leave the party and run after me like in the movies.”
Hope bursts from Milli’s lungs, warming our ears and our hearts as she casts off fears and insecurities in favor of a beautiful fantasy. “Come After Me” is innocent, it’s infectious, and it’s absolutely enchanting; what more could we possibly ask for?
:: “Jerk” – Laughing Cats ::
Danielle Holian, Galway, Ireland
If Laughing Cats’ debut introduced us to their sound, their follow-up single “Jerk” solidifies their style – a seamless blend of classic and contemporary. Inspired by rock’s renaissance eras, Schiff and Fredianelli pay homage to icons like The Beatles and The Velvet Underground while making space for their own sonic creativity. “Jerk” combines powerful storytelling with captivating production, delivering a sound that is at once nostalgic and innovative. Through rich textures and dynamic energy, “Jerk” sets the stage for their debut album, Funny Money, promising listeners an exciting fusion of pop, rock, and new wave that stands out in today’s music scene.
:: “Mandolin Spring” – MVI ::
Joe Beer, Surrey, UK
San Francisco based MVI have teamed up with three-time Grammy nominee and mandolin virtuoso Mike Marshall for their latest single, “Mandolin Spring.” The three and a half minute instrumental is a stunning showcase of incredible talent, with the performers from MVI (Mark Vickness Interconnected), including Vickness himself, each offering something unique and all bringing their impressive skill set and experience to the table. Combined, “Mandolin Spring” is truly a work of art and unlike anything you hear today.
The plucky strings of the mandolin and intricate fingerpicking guitar dance over soaring a beautiful string arrangement and wind instruments, resulting in an all-encompassing listening experience. The song builds and builds throughout, adding further instruments, depth and texture, creating a sense of anticipation and excitement before culminating in a satisfying resolution.
Vickness shares, “Although I have spent a lifetime in the world of guitar, I have only recently gotten closer to the mandolin. I decided to seek out a mandolin player to collaborate on a piece for MVI and mandolin. We could not have been more fortunate to be able to work with Mike Marshall, one of the most revered and respected mandolin players on the planet! This is a true collaboration in that I came up with the basics for MVI and Mike contributed the entirety of the featured mandolin part. Such a joy to work with a musician/composer of his caliber and pedigree! He has recorded and toured with some of my most important influences including Michael Hedges, the father of modern fingerstyle guitar. I felt that connection recording this piece.”
The new music video is demonstrative of their talent, and we can only imagine what it would be like to witness this song performed live— an unforgettable and magical experience.
:: “Used to It” – Noshows ::
Mitch Mosk, Beacon, New York
It may not be the answer or the message we all want to hear, but sometimes, navigating change means consciously adapting to situations outside our control and accepting our own limitations; in other words, getting used to it. We are not always in the driver’s seat, but as Noshows sings so candidly in his second song of the year, we can always fall back and find our way through. Released in September, “Used to It” is a dynamic, Strokes-y indie rock song about endurance, tolerance, and humility in the face of lost love.
I had to let things go
Leave ‘em in the dust
I had to trust myself
And that’s what I’ve done
Don’t wanna fall for love
I wanna fall in love
I went ahead and changed
Because of sticks and stones
But now I just don’t know
Because the ones you stopped
I feel em in my bones
I feel ’em in my bones
Where did I go wrong?
“‘Used to It’ is about dealing with loss and adapting to new normals,” Noshows’ Max Satow tells Atwood Magazine. “It seems like some days the only thing we can count on is change, so we have to find ways to cope and navigate life in positive and healthy ways. As someone who has dealt with anxiety, I know how hard it is to come to terms with situations that are out of our control. I hope this song helps to remind people that we’ve all been through situations like these.”
Now I just want my life before
But somethings out of my control
Guess I gotta get used to it
Used to it
Showed myself out you locked the door
Guess I can’t fix things from before
And now I gotta get used to it
Used to it
An earnest and emphatic sonically charged assertion, “Used to It” is as catchy as it is compelling – a feverish eruption from Noshows’ innermost depths that puts the New York City-based artist on the map, ensuring we pay close attention to all Satow touches moving forward.
:: “Fool” – Prima Queen ::
Mitch Mosk, Beacon, New York
I don’t recommend taking too many ‘life lessons’ away from the silver screen, but one thing that most movies seem to have got right time and again: That it’s in our more painful moments that we realize our true power and inner strength. Prima Queen double-down on this notion in “Fool,” the impassioned, infectious, and spirited lead single off their debut album. It’s an empowering anthem born out of a fractious (and ultimately failed) relationship that finds the narrator rising like a phoenix from the ashes, more confident, self-assured, and self-aware than ever before.
Don’t you know that you’re making me feel like such a fool
Don’t you know that you’re making me feel like such a
You say the city is bringing you down
but I don’t think it’s that
Yeah maybe it can be hard sometimes but it’s where I am
I run to you from the train cuz I just can’t wait
You don’t feel the same, I can see it on your face
Now I’m standing in the rain with your birthday cake
If you didn’t want me here, why didn’t you just say?
“‘Fool’ is for anyone who was made to feel silly for wanting more from their partner in a relationship – no one should ever make you feel like that!” Prima Queen – the transatlantic songwriting duo of best friends Louise Macphail (Bristol, UK) and Kristin McFadden (Chicago, USA) – tell Atwood Magazine. “It is about loving someone who is anxious-avoidant and grappling with the fact that they’re incapable of giving you the type of love that you need.”
They continue, “It’s the song that took us the longest to write – we started it years ago but kept changing the lyrics because it never felt quite finished. It wasn’t until the relationship was over when we finally understood what we were trying to say. When we started writing it the song felt like a sad one because the subject matter was still fresh, and the relationship wasn’t what it should be. However, upon leaving the relationship and looking at it in hindsight it became empowering, uplifting and fun!”
The band find their high – and their release – in the song’s cathartic and emotionally charged chorus:
I don’t want to hold you down
But it feels like I just wait around
for you to come back
I never seem to get enough
And I wish you gave me more of your love
But you don’t know how to do that
“Fool” is for all those who have ever been made to feel less than by someone who claimed to love them. It’s a reminder that true love comes from within, and that true love doesn’t criticize or denigrate; it uplifts, empowers, and inspires.
:: “A Loving Way” – The Dionysus Effect ::
Grace Holtzclaw, Los Angeles, CA
The Dionysus Effect is a longstanding presence in the New York hard rock and goth scenes. The trio of musicians is united by a common belief that music can awaken something within. That’s a sentiment that carries over to their infectious crowds and provocative composition alike. The Dionysus Effect isn’t just boundary-pushing rock, it’s a movement focused on self-expression, liberation, and desire.
Their new single “A Loving Way” doesn’t shy away from darkness and explores the full extent of the human psyche. It answers the question of what we crave below the surface of superficiality over rapturous sonics, and earth-shaking vocals from lead singer Christoph Paul. “A Loving Way” lures you in with plunging bass lines, euphoric hooks, and intense riffs. The track takes you on a full-throttled journey through the depths of darkness in a way which only their music could.
“A Loving Way” is featured in the horror film The Fort starring Armani Jackson and Callie Haverda. It precedes their upcoming album Under Your Bed set for release in summer of 2025. The Dionysus Effect continues to push the envelope of what is possible for the state of modern rock. “A Loving Way” is their enticing next chapter.
:: something to believe in – Lucky Iris ::
Danielle Holian, Galway, Ireland
Leeds alt-pop duo Lucky Iris deliver a refreshing take on emotional pop with their new EP, something to believe in, a vibrant release that balances introspection with irresistible danceability. Mixed by Richard Wilkinson (Adele, Amy Winehouse) and mastered by Antony Ryan (Oh Wonder, Hannah Diamond), the EP boasts a polished sound that complements Lucky Iris’s reputation for creating music that’s equally suited to dancing or shedding a tear. Through catchy melodies, punchy electronic layers, and deeply relatable lyrics, something to believe in, showcases the duo’s ability to turn personal stories into songs with a universal appeal.
Lucky Iris shines with their unique alt-pop energy, blending radiant hooks and bold production with a raw emotional edge that feels authentic and engaging. Known as one of Leeds’ standout pop acts, the duo keeps the EP both intimate and accessible, inviting listeners into a world of self-reflection and escapism. From start to finish, something to believe in, is packed with earworm melodies and powerful beats, a testament to the duo’s skill in crafting music that stays with you long after the last track fades.
:: “Easy” – Kita Alexander ::
Mitch Mosk, Beacon, New York
If you’re like me, you’ve been told all your life that love is hard – that it takes constant work, nurturing, etc. – and that love should feel natural, simple, and organic. Ultimately, I think love shouldn’t be a strain; yes, it’s ‘hard’ work at times, but it’s also effortless and (in my experience) intuitive. We all want our love to come easy, and it should come easy, as Kita Alexander so beautifully expresses in song. A highlight off the Australian pop artist’s debut album Young in Love, “Easy” is a dreamy, dramatic, love-soaked revelry basking in the throes of that innermost intimate connection, celebrating the highs and leaning into the ride
I want you baby love that
You want me no looking back.
We got this good heart attack
Kiss me softly
I want you all on my lips
I know you like it like this
Kiss me softly
Lay me down go on easy
For the 28-year-old Brisbane native, Young in Love is at once a professional, musical, and emotional milestone. As its title suggests, the record itself delves deep into the throes of love – unpacking what it means to her, exploring its highs and lows, and reflecting on her hopes and dreams as pertains to love and life.
“Finding yourself in your early 20s isn’t easy,” Alexander admits. “It’s hard, whichever path you take. But I feel like I’ve been able to come into myself whilst being in such a loving and beautiful relationship. Young In Love is about finding love in your youth and growing with that love. It’s about growing through the thorns to become a beautiful rose together. It’s sticking by someone through thick and thin. It’s the desire to grow old together and to hopefully celebrate a 50 year wedding anniversary. It’s the realisation that good things only come to those who work hard. It’s love, it’s fire, it’s coming of age, it’s young adulthood, it’s working on yourself and it’s my story.”
You make me laugh til I cry
Got that look in your eye
Wanna takе me for a ride
We gеt your black truck and go
You smile ahead at the road
Let’s think of this when we’re old
See upcoming pop shows
Get tickets for your favorite artists
Now I’m playing it out of my head
It’s something I don’t wanna regret
I know I’m scared ’cause I’ve never
We’ve never said it out loud
The album’s twelfth and final track, “Easy” is probably best described as a “sleeper” track on Young in Love, and yet it’s a personal favorite for the warmth and wonder it sparks inside. Dreamy and hopeful, it’s a bright, buoyant conclusion to Kita Alexander’s debut, and an uplifting, feel-good embrace of love.
I want you baby love that
You want me no looking back
We got this good heart attack
Kiss me softly
I want you all on my lips
I know you like it like this
Kiss me softly
Lay me down go on easy
:: “Hoax” – HEXX ::
Danielle Holian, Galway, Ireland
London-based girl group HEXX is making waves in pop and R&B, captivating fans worldwide with their infectious sound and charismatic presence. Comprising members Riya, Jessica, Hekate, and Toni Binx, HEXX combines each artist’s unique voice into a powerful, cohesive blend of modern pop and R&B. Their music explores themes of love, self-discovery, and empowerment, creating a relatable experience that resonates with listeners everywhere. Since their debut with “Slo-mo” in May, HEXX has quickly proven that their refreshing approach to girl-group music brings a dynamic edge to the scene.
HEXX’s latest release, “Hoax,” is an exhilarating follow-up that merges early 2000s dance-pop and R&B with femme fatale energy reminiscent of Charlie’s Angels. Produced by BigBadBeats, “Hoax” layers cinematic flair and playful sound effects, creating an anthemic track that balances nostalgia with a forward-looking aesthetic. HEXX’s ability to fuse past and present highlights their unique appeal as a girl group rooted in the history of pop but with a keen sense of where the genre is headed. With more releases slated for 2024, HEXX is primed for a breakout year, offering a fresh, empowering vision in the world of pop.
:: “Glluu” – Joyer ::
Mitch Mosk, Beacon, New York
‘Tis the season for hushed and haunting alt/indie folk, and Joyer have delivered the perfect song scratch that annual itch. Featured on their recently released three-track EP I See Forward and Back (October 4th via Hit the North Records), “Glluu” is a hypnotic marriage of warm, gentle folk and shimmering, seductive shoegaze (think bands like Hovvdy and TOLEDO). Delicate acoustic guitar patterns create a soul-stirring sonic base off of which brothers Nick and Shane Sullivan build a beautifully stripped-down, lo-fi, emotionally-soaked enchantment:
I pulled myself upstream
Saw that you were waiting
Can I get away can i get away for me
Can I get away can i get away from me
I’m glued…
Never find my tracks…
Arriving just shy of six months after Joyer’s acclaimed fourth studio album Night Songs, I See Forward and Back is hailed as a quasi-expansion, its three songs hailing from the album sessions but ultimately destined to live on their own, rather than as a part of that body of work.
“We recently revisited these songs after Night Songs was put out. They were written around the early stages of the album, so it was fun to go back to them post-release,” Nick Sullivan tells Atwood Magazine. “I was really into mixed media projects and always wanted to try making one cohesive visual accompaniment for a collection of songs. I like to look at the songs and video as being one big thing, which is why I made each track blend into each other. We even tried to track some of them for Night Songs, but realized we liked the warm and homemade feel of them, and I feel like the production suites the visual style too. Although they never made it onto the final album, I still think it’s a cool extension of where we were at that time.”
Perhaps it’s actually fitting that a song like “Glluu” was saved for later; it’s the perfect wistful soundtrack to our wintry wanderings and wonderings, its soft touch a mirror for the aches we often feel within us as the nights grow longer and the days colder.
:: On Intuition – 9T7 ::
Danielle Holian, Galway, Ireland
Amsterdam-based producer and multi-instrumentalist 9T7 has just released his much-anticipated debut EP, On Intuition, a project that showcases his ability to craft serene electronic soundscapes infused with organic textures and lo-fi atmospheres. Known for his unique blend of downtempo and mellow electronics, 9T7 has attracted a growing fanbase and garnered placements on prominent editorial playlists. The EP’s sound recalls the early work of Mura Masa, blending nostalgia with forward-thinking production that creates a beautiful sonic palette.
Produced by Tim van Aarst, who has worked with artists like Hatoon, HEF, and Laidback Luke featuring Mutya Buena, On Intuition, features four ambient tracks that weave in elements of jazz and hip-hop. With its swinging beats, live bass, analogue synths, and tasteful electric guitar, the EP captures an ethereal yet engaging vibe. 9T7 describes the project as “a compound of musical composition purely made on intuition,” reflecting his deeply personal approach to music-making, where each beat and note resonates with an emotional honesty aimed at connecting with listeners on a soulful level.
:: “Ten Thousand Car Alarms” – Hamish Donald ::
Mitch Mosk, Beacon, New York
Emotional turmoil doesn’t always manifest through shouts and cries; sometimes it’s the tender, aching whispers that carry the most weight, as Hamish Donald shows us firsthand through his debut single. Released earlier this year, “Ten Thousand Car Alarms” is a heartrending reckoning with love and longing, self-doubt and uncertainty.
Over warm, hypnotic acoustic guitars, lilting piano lines, and soft drumming, the London-based singer/songwriter, multi-instrumentalist, and producer (formerly of jazz/funk band Tempus) bares his heavy heart and weary soul for all to see, hear, and feel the turbulence within:
Ten thousand car alarms
going off inside my heart
And I can’t feel my face
Your eyes reflect the stars
burning balls of fire in the dark
I still need my space
I miss you by me
I need you (oh oh oh)
I want you so badly
Do you miss me to?
“‘Ten Thousand Car Alarms’ is inspired by the emotional push and pull we feel in a relationship filled with uncertainty,” Donald tells Atwood Magazine. “It is a story of two people deeply connected but still needing distance – a reflection of the tension that surfaces when love is intense but not fully clear. Musically, I have lent into the indie folk genre for its raw, honest storytelling and acoustic warmth which I’ve is a style I’ve always been drawn to.”
Ten thousand ways to turn
we always try but we never learn
Let’s find our hideout place
Another love’s too much
I can’t while I still feel your touch
I still need my space
I miss you by me
I need you (oh oh oh)
I want you so badly
Do you miss me too?
A cathartic confessional, “Ten Thousand Car Alarms” is a comforting blanket of sound, even as its author dwells in a state of anxiety and restlessness. Hamish Donald has introduced himself through a beautiful musical moment of intense intimacy and vulnerability, all but ensuring we pay extra close attention to all he has to share – from his head, as well as from his heart – moving forward.
:: “the last song i’ll write about the sun” – buster and the pigeons ::
Mitch Mosk, Beacon, New York
There’s no pain quite like the pain of unrequited love, and on his latest single, London’s buster and the pigeons dwells in that raw, unfiltered, and undeniable ache. Released in mid-September, “the last song i’ll write about the sun” is a gentle, poignant acoustic song of bittersweet acceptance. Sung (presumably) to his ex, the track finds singer/songwriter Buster Meaney coming to terms with an unwanted ending, while still hoping that both parties can look back on their time together fondly, and with an appreciation for what they had, rather than regret, anger, or even sadness for what wasn’t.
rode a horse to water it wouldn’t drink drink
thinks it’s poisoned with promises
liars honesty, i knelt down
i’ll drank the water, i showed you how
tomato trees and Japanese showers
under stars that apollo placed
while i washed your hair in my hands again
you hide under the table
my love’s on top
you hide under the table
you spit till i rots
“The song is a reflection of a push and pull relationship where one partner wanted to express love as grandiose as they felt it, while the other didn’t feel it was worth choosing,” Meaney tells Atwood Magazine. “The heartbreaking notion that you can do anything for your partner, but if they are not willing to accept or believe the love you want to shower them in, you’re forever going to be fighting a losing battle. The song is a reluctant acceptance of the breakup despite how strong the connection was. Even if it was lopsided.”
“The inspiration behind the song is finally coming to terms with the fact that no matter how much love and care and energy you put into someone, if they don’t choose you or see the value in you it’s time to let it go,” he adds. “It’s a form of closure that I wasn’t going to get elsewhere. The song is incredibly personal and intimate, and is bidding the person their wish of walking away with the hope that they will not reframe the beauty of the relationship and see it for what it really was.”
self-fulfilling a prophecy
what you’ve learnt shouldn’t be taught
i’d open the letter box for you
keep the bad news away
you’d pay for fruit in an orchard
i’d steal you flowers from the shop
i know you like orchids
but the lilies are an easier rob
you hide under the table
where i put my cards
and you hide under my table
including me in the past
Unflinchingly honest and brutally vulnerable, “the last song i’ll write about the sun” is the product of a broken-hearted romantic; a lover, not a fighter. Even in the face of love’s demise, it’s a song that will warm the ears and soothe the soul.
:: “Hearsay” (demo) – Tequila Plunge Pool ::
Frederick Bloy, London, England
As means of brief introduction, independent music, at its purest, must be qualified as a farrago. It is a stew that boils over with a profundity of ingredients and a bewildering medley of spices. What you might find at an open mic night, or a show comprised of upstart bands and stripling songwriters, regularly defies prediction. On the balance of probabilities then, it’s quite the prize to discover something you objectively enjoy.
Tequila Plunge Pool are a quartet, comprised of a lead singer/guitarist, drummer, bassist, and saxophonist. At their best, they flow with the synergy of Black Country, New Road – which is not just because of the saxophone. At moments, they go as far to create such a compelling miasma of sound, that they channel mesmerising post-rock forays. What cuts through however, is a jazz fusion plateau from which they extrapolate out of.
“Hearsay” is a triumph – and one that is even better live. I had the joy of hearing it recently at The Workshop in Shoreditch, and I was enchanted – completely under its spell. The song burgeons out of a beguiling chord progression, punctuated by a slithering riff, doubled by the saxophone, an equally alluring embellishment throughout the track. The drum-work throughout is brilliant too. It is a song of mystery, of charm, of secrets that lurk on the periphery of ‘untold.’
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