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 Dylan Cartlidge, Phoebe Green, Father John Misty, leo, Cooper Phillip, Polly Money, Girl Next Door, Blair, Dennis Ellsworth, Chloe Slater, Jean-Loup Pinson, Elizma, Fitasha, FAT SALAD, Martin Luke Brown, Terra Twin, half•alive, Dryadic, Ace Rose, and Hannah McKittrick!
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follow WEEKLY ROUNDUP on Spotify
:: “New Day” – Dylan Cartlidge ::
Mitch Mosk, Beacon, New York
It’s a “New Day” for Dylan Cartlidge, and we’re absolutely ready to join the British singer/songwriter in wholeheartedly embracing a fresh start with wide open arms. Released November 27th, Cartlidge’s first single in over three years finds him channeling hope and possibility into soulful, sun-kissed sound. “New Day” is an uplifting anthem leaning into new beginnings, inviting us to keep our eyes and minds open to all that tomorrow has in store.
Lord knows, I was,
Sad and afraid,
Sad and afraid of the day,
that you’d say the time has finally come.
To stand again,
On my own two feet,
Wake up from a sleep,
Remind me we’d been chasing
Speedboats, heartache,
Dumb luck, close shaves,
Throwing up in doorways.
I know we’re safer, older,
Arms round my shoulders,
But say it isn’t over.
“‘New Day’ is about stepping into unknowns and embracing change, which can be both beautiful and tricky – some of the best decisions can also be some of the hardest,” Cartlidge tells Atwood Magazine.
“When I was 16 years old, I was faced with such a decision. I had to decide to either stay in my current circumstances living in and out of foster care –experiencing trauma, poverty, and addiction – or to move away to start again, leaving behind everything and everybody I’d ever known to live in different part of the country.”
“I made the decision to take a leap of faith, a new beginning.”
Cartlidge rises to a seductive and spiritual high in the chorus, his energy infectious as light pours out of his soul.
It’s a new day, a new day,
When the sun hits the water
it’s a smile on my face.
It’s a new day, a new day.
It’s everything you wanted
but it won’t be the same.
And that’s ok!
Hailing from the coastal town of Redcar in North-East England, Cartlidge is no stranger to these pages. His track “Dare to Dream,” taken off his infectiously energizing debut album Hope Above Adversity, was featured as one of Atwood Magazine’s Best Songs of 2021, with writer Oliver Crook praising it as “uplifting and endearing, carrying a message that we really need right now.” Crook also hailed Hope Above Adversity as powerful, eclectic, and with enough good vibes to weather the toughest storms. “But it’s not a corny, fake happiness,” he wrote. “Cartlidge tackles difficult topics with realistic eyes, underpinning it with a sense of white-knuckle hope.”
It’s getting lost,
Down familiar streets.
Waking up when you know
we should be fast asleep.
So comfortable,
That’s no excuse.
I wanna’ live, I watch you
stumble and it hits me.
So hard, can’t breathe,
I want life badly,
A little weight to carry.
And though we’re safer, older,
Your arms round my shoulders,
You know it isn’t over.
Fast-forward to 2024, and Dylan Cartlidge continues to embody a spirit of hope in his music. “New Day” is joy manifest in song: An invitation to bask in the sunshine, dance in the moonlight, and sing along as the artist revels in a moment of meaningful connection and catharsis.
We may not always have Cartlidge’s merry and bright mindset, but we owe it to ourselves to try; to approach tomorrow as an opportunity and as a gift; as a new day.
It’s a new day, a new day,
When the sun hits the water
it’s a smile on my face.
It’s a new day, a new day.
It’s everything you wanted
but it won’t be the same.
‘Cause it’s a new day, a new day,
When the sun hits the water
it’s a smile on my face.
:: “Precious Things” – Phoebe Green ::
Mitch Mosk, Beacon, New York
Hypnotic, enchanting, and beautifully, brutally vulnerable, Phoebe Green’s latest single is – emotionally and musically – an utterly all-consuming indulgence. Obsession receives its own alt-pop anthem in “Precious Things,” a dark, dramatic embrace of desire and longing, submission and surrender.
Ask me what I want so I can tell you that I want you
In any length of silence I will fill it to remind you
that every single second I find ways to idolise you
and every single night I wish that I could live inside you
Tell me what you want so I can die trying to be it
Manipulate my body into whatever you’re needing
I’ll grow or shrink, I’ll swim or sink, I’ll speak or stop breathing
I’ll be the container that you keep all your precious things in
If you could see me now
maybe you’d want me
If you need something to shoot down
well baby, you’ve got me
“I really wanted to write a song about the obsessive, almost fan-like behaviour that we can exhibit in romantic relationships; I love borderline creepy lyrics that are a combination of uncomfortable and almost comedic when expressing love for something or someone,” Green tells Atwood Magazine.
“I wanted to contrast this with a truly devastating chorus that almost feels sacrificial, a willingness to be of use in any way to someone just to feel needed. I like that sonically both of these ideas are reflected also, the verses are sort of nursery rhyme-jolly so that the deeper meaning is concealed somewhat, whereas the chorus is just fully heart-on-sleeve yearning with the big synthy choral sound.”
Ask me what I need so I can tell you that I need you
Just wanna plant the seed so I can water you and feed you
and maybe when you weaken I can be the one to heal you
and when you’re sick of me then I can be the one to free you
“Precious Things” sends chills down the spine as Phoebe Green slips into a new skin. The Manchester-based singer/songwriter embodies infatuation – and the kind of passion and mania that accompanies it – with raw finesse, inviting us deep into her world through pulsing synths, mesmeric drums, and her own seductive, achingly nuanced vocal performance.
“I think this new music is just very me,” she says. “I’ve been listening to a lot of Imogen Heap, St Vincent, Caroline Rose, and obviously Charli XCX and Chappell Roan, though I don’t feel as though I’ve intentionally drawn much influence from anywhere in particular. I think I’ve subconsciously shied away from writing big pop choruses in the past, but I really loved experimenting with this on my new project.”
“I’ve really tried to marry the sounds with the lyrics and allowed the vulnerability to be a focal point, I mean what I say and if one day I don’t feel the same, then I’ll try not to be embarrassed that I once said something with conviction because at the end of the day I believe in something entirely until I don’t.”
If you could see me now
maybe you’d want me
If you need something to shoot down
well baby, you’ve got me
If you could figure out
some way to want me
you know I’ll be around
Yeah baby, you’ve got me
“Precious Things” follows this past May’s Ask Me Now EP and arrives in the wake of August’s immersive and synth-heavy “Love Song.” It’s the latest track off a new self-produced EP set to release in March 2025, and a truly stunning two-and-a-half minutes that promises to leave listeners with a fire in their hearts and a burning in their guts.
:: “Mental Health” – Father John Misty ::
Josh Bloom, Peekskill, New York
“Mental Health” seems very broad as far as song titles go, but with only seven minutes to work it out, Father John Misty does it justice, or as is the case in this song, mental health does Misty.
I had to look up the third word of the lyrics.
“Panopticon” is a prison design that allows a single guard to observe all prisoners without them knowing if they are being watched. Are we all watched by God this way in this “prison” we call life, and is the idea of being watched by God a mental illness in the first place?
I am glad I know this word now.
Strings are one of the stars of Misty’s new Mahashmashana, and here they get ultra syrupy, almost to the Phil Spector standard that caused Paul McCartney to fire off an angry letter about “The Long and Winding Road.” In this song, they contrast effectively with the subject matter of actual madness vs. perceived madness. It feels like the sonic equivalent of the initial warm rush brought on by psychedelic understanding.
There’s no higher virtue held in this crazy world
It’s more than a little bit absurd
I agree that it is absurd to value mental health so highly with the premise that “existence” is merely perception in the offing; however, “no higher virtue,” ain’t it. We humans love our nutters too much, Mr. Misty. That’s why this song is so good.
Oh, insanity babe it’s indispensable
For the true endeavour of your soul
Yes. For the most part, we are on the same page here. Once removed from the more esoteric and hallucinogenic aspects of “Mental Health,” it can be enjoyed while cleaning the apartment as light streams in the window, illuminating each droplet of inordinately expensive product bearing claims of environmental safety as it lands.
:: “december blues” – leo. ::
Danielle Holian, Galway, Ireland
If Winter had a soundtrack, leo.’s “december blues” would be its coziest anthem. The rising singer-songwriter masterfully blends acoustic warmth, indie charm, and a dash of vintage holiday flair in this heartfelt ballad. Teaming up with Chevy, leo. delivers a duet that feels like sipping hot cocoa by a roaring fire – comforting, rich, and just a little bittersweet. The song’s lush string arrangements by Alistair Kerley and jazzy piano touches from Nico Widdowson transport listeners to a ‘40s winter soirée, while producer Ed Allen’s modern polish keeps it feeling fresh. It’s the perfect blend of nostalgia and contemporary cool, making you want to wrap yourself in a blanket and hit “repeat.”
But it’s not just the music that shines – leo.’s storytelling is as endearing as ever. Inspired by his move from Portugal’s mild winters to the UK’s frigid Decembers, he uses “december blues” to capture the season’s melancholy and the way love can melt even the iciest moments. Chevy’s harmonies add an extra layer of emotional depth, creating a duet that feels like a heartfelt conversation. Whether you’re feeling the chill or the romance, this track delivers a little warmth to everyone’s winter.
:: “One Sweet December Night” – Cooper Phillip ::
Chloe Robinson, California
The holidays can be a magical time where anything seems possible. Cooper Phillip’s “One Sweet December Night” evokes that sense of enchantment and wonder. From the opening jingling bells to the rest of the track’s cheerful instrumentation, it will instantly put anyone in the Christmas spirit. The soulful pop vocals soar as she sings of longing for her love during this festive season. “One Sweet December Night” results from the ISINA Development Deal, an opportunity for artists whose profiles and rankings reach the top 10 in their genre and department after holding top positions for four weeks. This can result in a potential development deal.
Phillip has been known to craft music that is confident and bold. Her mother toured as a violinist so a love for the arts runs in her family. From a young age she picked up piano and harp. Later also honing in on her skills with choir. Inspired by musical greats Mariah Carey and Whitney Houston, you can hear that influence even in this new release. The offering emits an air of Mariah Carey’s “All I Want For Christmas Is You” while still remaining uniquely her own.
:: “i’m not proud” – Polly Money ::
Rachel Leong, France
Previously touring as a tour vocalist/guitarist for The 1975, indie pop artist Polly Money has just released her new single, “i’m not proud” – an intimate play on feelings of guilt and desire in relationships. Boldly vulnerable and effortlessly smooth, the track is backed by driving acoustic guitar and playful keys, with Money’s airy vocals laid atop.
Toeing the line of affection and temptation, Money beckons you into her internal back-and-forth. “i’m not proud” is a testament to decisions and fleeting desires, quickly covered by the weight of what’s already been built. On the track, Money shares, “‘I’m not proud’ is all about playing around with the idea that music and lyrics can convey two different emotions and I love that. it’s bouncy and happy sonically, but also about having a naughty lil crush. It doesn’t take itself too seriously and we had a lot of fun recording it. It just sounds playful and out of all of my music it has some of my favourite moments in it.”
Emerging from her stint as The 1975’s bandmate, Money makes waves of her own, most recently opening a show for Dora Jar at London’s Omeara. Garnering the utmost praise from her former band members, Money is set to take the stage – this time leading the charge at the forefront of her own artistry.
:: Darling I Saw The Way You Looked At Me Tonight – Girl Next Door ::
Danielle Holian, Galway, Ireland
Girl Next Door’s latest EP Darling I Saw The Way You Looked At Me Tonight is a thrilling release. The five songs have a brilliant blend of heartfelt songwriting and experimental electronic elements showcasing her effortless creative side. In addition to being a display of Carton’s extraordinary skill, this collection of songs is a celebration of self-discovery with its intensely personal yet widely relatable themes.
Every song seems like a distinct chapter in the story of hedonism, heartache, and self-discovery, from the ethereal simplicity of “If Dance Floors Were Silent” to the shimmering, experimental title track and the driving rhythms of “CTRL.” Sarah’s moving vocals are layered with whirling synthesisers, delicate guitar tones, and ambient rain sounds in the lead song, “Causeway,” which is a lush, sorrowful highlight that aptly captures the brittle emotions of being “trapped in the space between together and apart.”
The EP’s complex thematic examination of the murky journey into maturity, exploring themes such as loss of innocence, societal pressure, and the complicated navigation of relationships, goes beyond its innovative sound.
:: “Late to the Party” – Blair ::
Mitch Mosk, Beacon, New York
She’s wild, she’s free, and she’s right on time. Detroit singer/songwriter Blair Blackwell embraces her present place in “Late to the Party,” an intimate and exhilarating indie pop fever dream. Society will always have ‘rules’ and ‘expectations’ for how we should live our lives or where we should ‘be’ at in our careers – and that’s fine – but it’s incumbent upon us to do all we can to tune out that noise, no matter how loud it gets.
“I may be late to the party, but I’d rather be late than sorry,” Blackwell sings in a defiant, emotionally charged chorus, her voice full of unapologetic passion. “Please stop tryna rush me.” We’ll never be too late to the party if the party doesn’t start ‘til we get there – but even more to the point, there’s no such thing as “too late” if you’re having the time of your life along the way. After all, the journey is the destination, and that’s exactly what Blackwell – who records mononymously as ‘Blair’ – concludes in this churning, heated two-and-a-half minute reckoning.
A b*ch is 28
Tell me am I late?
All my friends are buying houses
I just paid my rent with my last
Hope this cereal last
Should I pay these got damn bills
or have some fun?
I heard you can’t take it
when it’s said and done
I really gotta stop
comparin’ and stressin’
Ain’t have a baby with my ex
it’s a blessing
“This song – and where I am in life right now – is a reflection of the culmination of my twenties,” Blackwell tells Atwood Magazine. “‘Late to the Party’ is essentially my diary, capturing every thought and pressure leading up to this moment. As an artist, getting older comes with its own set of societal expectations, like the idea that I should have ‘made it’ by now. But every chapter in my life has taught me that I was exactly where I needed to be.”
“There’s nothing worse than arriving early – unprepared and unable to fully handle what’s ahead. Everything that seemed ‘late’ at the time ended up being right on time. This song is for the late bloomers and anyone who feels like there’s an expiration date on artistry. Art doesn’t die – it deepens. The wiser you get, the more access you have to richer, more meaningful experiences.”
Blair’s chorus is cathartic climax, as well as a forceful rebuttal to all the anxieties she expresses in the verses:
I may be late to the party
But I’d rather be late than sorry
So please stop tryna rush me
Getting old living young, wild, and free
I may be late to the party
But I’d rather be late than sorry
So please stop tryna rush me
Getting old living young, wild, and free
“Late to the Party” is the third single taken off Blair’s forthcoming EP Freaky Tuesday, a genre-bending and -blending project set to release in Spring 2025. For Blackwell, this song is both a reflective review of the path she’s carved for herself to date, and a candid look forward at all that’s still ahead of her. She sings from a place of empowerment and strength, owning who she is and all that she’s done to get to become that special person, while humbly recognizing that it’s just a point in time; that there’s so much more to her than any one song, or any one moment, could ever possibly express or fully capture.
“At 29, I’m toasting to my growth and everything yet to come,” she smiles. “My connection with myself has never been stronger, and that has made my music better. Sonically, I no longer give a f* about what I am ‘supposed to’ sound like as a Black woman, I follow what feels right. We are often put into boxes and it’s not fair- we can do any and everything and though genres are exciting and can drive the vision, they shouldn’t be restaining. I’ve learned to trust myself while staying open with my kickass team I’m creating with.”
“I’m becoming fluid in all bends and perspectives of rock and alternative and feel at home there, encouraging others to explore the places that intimidate them and never let anyone tell them otherwise. That’s what I want my music to do, break people out of whatever jail or mold they may be trying to escape. ‘Late to the Party’ and this entire EP are born from that freedom.”
What you mean figured out?
I really just got here
Only been a f*ing grownup for 8 years
Let me to be just like you?
Sad to come home just like you?
And If I’m late then I’m late
Leave me alone
Maybe I’m okay being a f*ing lone
Flyer says 8, be there by 10
It don’t get fun ‘til I say when, ‘cause
No, she’s not “Late to the Party,” and neither are we. Blair’s latest release reminds us all to focus on ourselves rather than others; to be the authors of our own narratives, and to follow our hearts and pursue our passions unencumbered and unrestrained. Don’t let anyone or anything keep you from being who you want to be and doing what you want to do.
And I, for one, can’t think of a more inspiring message than that.
I may be late to the party
But I’d rather be late than sorry
So please stop tryna rush me
Getting old living young, wild, and free
I may be late to the party
But I’d rather be late than sorry
So please stop tryna rush me
Getting old living young, wild, and free
:: “I Can’t Impress You” – Dennis Ellsworth ::
Mitch Mosk, Beacon, New York
His song may be titled “I Can’t Impress You,” but I’m thoroughly blown away all the same. The latest single from Canadian singer/songwriter Dennis Ellsworth looks at life and love without the rose-colored glasses. It’s real and it’s raw, but it manages a positive, hopeful attitude all the same – because at the end of the day, we don’t need perfection; we just need someone to know us, to love us, to hold us, and to be there for us through all the highs and all the lows.
Life is a contradiction
Love and loveless at the same time
And that stuff can make you wonder
Whats’ the point?
Or blow your mind
And at least the sky is blue
And I can put my arms around you
And the world can fall around us anytime
“‘I Can’t Impress You,’ in essence, is a love song that is based in the fact that love is imperfect, and the world is a mess,” Ellsworth tells Atwood Magazine. “But even when things fall apart, the comfort of someone’s love is all you need.”
I don’t care as much as I used to
And I don’t try to change your mind
Sometimes I’m lost in something useless
And sometimes I’m lost in your eyes
And at least the sky is blue
And I can put my arms around you
And the world can fall around us anytime
A charming ballad reminiscent of Tom Petty’s best, “I Can’t Impress You” reminds us, for a moment, about what really matters. Through his unfiltered, unflinching lyrics and an emotionally charged performance, Dennis Ellsworth uplifts us, inspires us, and recenters us – ensuring we come away from his song with a better outlook on life and a pep in our step, no matter where we are in our own love stories.
I’m convinced, I can make you happy
Make you laugh, if I try
But if I don’t, I’m really sorry
I can’t impress you all the time
And at least the sky is blue
And I can put my arms around you
And the world can fall around us anytime
The world can fall around us anytime
Yeah, the world can fall around us anytime
:: “Fig Tree” – Chloe Slater ::
Bárbara Martínez Campuzano, Mexico
21-year-old singer/songwriter Chloe Slater has just released “Fig Tree,” touching the subject of a woman’s aging with the delicate and clever use of metaphors and analogies to explore it in a meaningful way. Paying close attention to the song, Slater tries to empathize and connect to those who worry about staying or looking younger while confronting the system that pushes women to do, wear, or take things that will give them more youth, at the expense of their freedom to decide or do as they want.
Lyrics like “Better to have creases than to never have laughed” or “Your life is more than their obsession” points a finger at the beliefs and pressures forced by a society that is fixed on youth and beauty standards. “Slave to a patriarch” is the line that says just about everything about this song, and can make the listener wonder if they are under that authority as well. Along with a paced and indie rock-like instrumentation, this song surely conveys an important message.
:: A Moment of Deathlessness – Jean-Loup Pinson ::
Danielle Holian, Galway, Ireland
Jean-Loup Pinson’s latest EP A Moment of Deathlessness is a thrilling exploration of Emily Dickinson’s iconic poetry through the lens of modern music. The French-British composer, known for his genre-blending work, combines classical choral elements, contemporary rap, and electronic beats into a soundscape that feels both timeless and futuristic. Featuring performances from the acclaimed Carice Singers and London-based poets Armanious and Tanaka Fuego, the EP reimagines Dickinson’s themes of truth, mortality, and desire with a contemporary twist. The result is a seamless fusion of old and new, bridging two centuries of artistic expression and offering a fresh perspective on the celebrated poet’s work.
What truly sets A Moment of Deathlessness apart is the way Pinson brings together such diverse voices. The lush, classical choral arrangements meet the rhythmic intensity of hip-hop, creating a dynamic interplay that feels both intimate and expansive. As Pinson himself notes, the collaboration between classical and contemporary artists offers a unique lens through which to examine Dickinson’s poetry, making these age-old themes resonate in today’s world. With his deep understanding of composition and a career that spans film, theatre, and dance, Pinson continues to push boundaries, and this EP proves that his artistic vision knows no limits. A Moment of Deathlessness is an ambitious and emotional journey that invites listeners to experience poetry in a whole new way.
:: “Secrets” – Elizma ::
Danielle Holian, Galway, Ireland
Elizma’s “Secrets” is a sonic and emotional tour de force, combining intricate musicality with raw, unflinching honesty. The fast-paced track pulls listeners into the chaos of addiction and recovery, its layered rhythms and haunting melodies mirroring the turbulence of the artist’s personal journey. Lyrically inspired by the Alcoholics Anonymous mantra “Secrets keep me sick,” the song masterfully navigates the shame and isolation of substance abuse, offering an unvarnished glimpse into the struggles that many face in silence. Elizma’s powerful vocal performance strikes a delicate balance between vulnerability and defiance, making every word resonate with emotional weight.
What sets “Secrets” apart is its dual purpose: it’s both a deeply personal confession and a scathing critique of pop culture’s normalization of drug use. Elizma challenges the music industry’s tendency to glorify substances without acknowledging their devastating consequences, delivering her message with urgency and precision. The track’s intricate production—equal parts frenetic and melodic—demands attention, driving home the importance of its message. “Secrets” is a rallying cry for accountability, compassion, and change, proving that music can be as thought-provoking as it is captivating.
:: RUSH – Fitasha ::
Rachel Leong, France
Fitasha returns with her third record, RUSH, an embodiment of the singer in all layers of her dynamic artistry. Leading the charge is Fitasha’s powerful declaration of agency, power, and authenticity. An independent singer-songwriter based in Madrid, Fitasha orbits – but not strictly to – the genres of hip-hop, neo-soul and R&B. She blends nodes of traditional and contemporary, creating soundscapes of lush arrangements topped with powerhouse vocals.
Fitasha makes clear through this record that to define her is to limit her, and strives to make music that authentically reflects her soul. Her ambition and forthrightness is apparent in RUSH, the 15-track strong project where the singer took the reins on all writing, production and recording elements. The record represents a clear direction for Fitasha, signalling her singular focus on her career, feelings and dreams. Fitasha’s new record is a definitive breakdown of where her mind is currently at, where self-love, self-improvement, trust in instinct and escapist love interact at the forefront. Combining versatility and playful contrasts, Fitasha delves into both English and Spanish lyricism, and genre-bending musicalities, elevating not just her musical ability, but her strength as a woman.
:: “Ecstasy” – FAT SALAD ::
Danielle Holian, Galway, Ireland
FAT SALAD’s latest single “Ecstasy” is a thrilling rollercoaster of sound that perfectly balances atmospheric indie vibes with raw, emotive energy. Produced by the renowned Natan Sterenfeld (who’s worked with Usher, Diplo, and Faithless), the track kicks off with shimmering electronic textures and rippling guitar chords before unfolding into a fiery, fuzzy guitar solo that sets the stage for the energetic drums and deep, grounding bass that follow. The track ebbs and flows with a hypnotic build, sweeping listeners into a euphoric wave that feels both expansive and intimate – like a live show captured in a moment of pure sonic bliss.
With lead vocalist Aydan Godden’s smoky, captivating voice taking center stage “Ecstasy” reaches new heights as it moves into its swaying verses and anthemic choruses. The track picks up tempo and elevates into a glorious burst of emotion, before dialing back to a stripped-down close that leaves you breathless. Drawing comparisons to My Morning Jacket and early Kings of Leon, “Ecstasy”’ is a standout moment for FAT SALAD, showcasing their undeniable potential. Since their debut in 2023, the band has been making waves on the UK live circuit, and this single—complete with its vibrant mix of glassy guitars and infectious bass lines—proves they’re ready for even bigger things ahead.
:: “hello !” – Martin Luke Brown ::
Mitch Mosk, Beacon, New York
Soaked sultry, soulful sounds and deep, dreamy grooves, “hello !” is more than a greeting; it’s an intimate, all-consuming embrace of the ears and the heart. Released in October, Martin Luke Brown’s second single of the year is a spellbinding reintroduction to the British artist (and member of indie pop supergroup Fizz) that sees him channeling the sun’s sweet heat into a smoldering, smile-inducing song.
Life moves fast and tends to throw a lot at us all at once; we can either stand still and be overwhelmed, or learn to move with the tides – as Brown himself does on this glistening and golden-hued song.
i sat backwards on the train
and i couldn’t stop thinking bout you
and how nothing is the same as it was
but i’m enjoying the view
like damn, this is what i am now,
that was who i was then,
i am an ever changing person
i don’t need to pretend
to be something that i’m not
i am not a full stop
no, no
i’m a blank new page
hello !
“Given the whirlwind of the past year with FIZZ, I thought it would be fun to kickstart my next project with an acknowledgement that there may well be lots of new people listening to me, as well as old friends,” the Leicester-born, London-based singer, songwriter, and producer tells Atwood Magazine.
“It’s a lil’ groovy one about changing and adapting as life moves. I never want my artist project to feel like a cage I’ve built for myself.”
now i’m rolling up a cheeky one
thinking ’bout the home that i left, yeah
my two favourite people
and a cat oh man of course i got regrets, yes
but damn, this is what i am now,
that was who i was then,
i am an ever changing person
i don’t need to pretend
to be something i’m not
i am not a full stop
no, no
i’m a blank new page
hello !
We are, truly, ever-changing; you may not notice it day-to-day, week-to-week, even month-to-month, but think back a year, two years, and you can’t help but realize just how different you are now, compared who you were back then. Growth is constant; it’s happening in the background right now – and it’s something to embrace as one of life’s many beautiful, unstoppable truths.
Martin Luke Brown may not be the ‘same’ person we once knew in, say, 2015’s breakout “Bring It Back to Me” and its parent EP, Take Out of Me – or even more recent cuts like 2022’s “damn, look at the view !” and last year’s “elsie.” Ironically enough, November saw him release an enchanting new song called “this is me now,” which can’t help but feel like a continuation of the conversation started by “hello !” The ultimate point is that we’re all along for the same ride – and we owe it to ourselves to lean in and embrace who we are today, tomorrow, and the day after that.
“I am not a full stop, no, no, I’m a blank new page; hello !” Brown sings, letting the light in. It takes less than three minutes for the artist to take his audience on this spectacular journey dripping in warm philosophical reflections and sonic sweat; by the time he’s down, we’re left dazzled, dazed, and ready for more.
Thankfully, more is on the way, as Martin Luke Brown’s sophomore alubm man oh man ! is set to release February 21st, 2025 AMK / Kartel Music Group!
:: “Again and Again” – Terra Twin ::
Bárbara Martínez Campuzano, Mexico
“Again and Again” is a new single from the English band Terra Twin. Their alternative rock sound has been played again in this song, which begins with a nostalgic 2000s nature that becomes a series of questions and words that sum up to remembrance, the feelings and memory of separation or conflict from someone. The repetition of the phrase “again and again” points to the struggles that emerge from the fear and mental unrest from recalling.
The London quartet has used elements of Americana to combine with their indie/rock style, which also comes along with nostalgia, something that the band has mentioned as a sort of transportation into certain times or places, therefore being fascinating to pour into the creativity of their music. With this song, they’ve used this theme once more.
:: “Songs” – half•alive ::
Mitch Mosk, Beacon, New York
Rarely has an ode to music felt so undeniably, irresistibly, and unapologetically human.
Of course, “Songs” is more than an ‘ode to music’; it’s a celebration of singing together with others; of being a part of something greater than ourselves; of harmony’s intrinsic physical and emotional beauty. The penultimate track off half•alive’s recently released third album captures the magic we experience firsthand through music, channeling that effervescent electricity into a gentle and dreamy indie pop enchantment awash in sweet melodies and even sweeter feeling.
It’s the kind of tune we can’t help but listen to and smile as our own intimate musical memories flood the periphery, taking us back to moments we’ll cherish for a lifetime.
coming over the hill
of a lapse in clarity
looking at a town
made out of temporary things
at the end of the day
when my soul is all but sold
thinking bout the things I miss the most
singing songs with you
and trying to remember
every harmony
wringing out the past
the time we get is merciless
so when we are together
let it be infinite
while it lasts
while it lasts
“I get warm, soothing chills down my spine when I’m around people singing in harmony,” half•alive’s Josh Taylor tells Atwood Magazine. “Whenever it happens, I can almost see the voices twisting together, and molding into one beautiful thing lighting up the room.”
“I think that’s why so many people are drawn to concerts. Whether you’re singing along with the band or just listening, there’s a certain magic in the room that gets shared by everyone there. ‘Songs’ is our attempt to put that feeling in a bottle. ‘Let it be infinite while it lasts’ lets us see the eternal leaking into the present. We’re looking forward to feeling that at the shows next year. The high intensity, the introspection, the swaying, the absorbing and participating – it’s all creating a harmony.”
i’ve been spending my time
soaking in the sun
watching how the daylight hits each particle of
dust
maybe life is a train
destination unknown
don’t know what you’ve got until it goes
singing songs with you
and trying to remember
every harmony
wringing out the past
the time we get is merciless
so when we are together
let it be infinite
while it lasts
while it lasts
Songs about songs often border on the cheesy, the tacky, and the cliché, but half•alive – in collaboration with singer, songwriter, and producer Jordana – have pulled this off with flying colors. Perhaps it’s because they’re not really singing about music, but instead about the way it makes us feel; how singing, and being sung to, can brighten even our darkest hours. That, at the end of the day, is what makes music so special, and in “Songs,” we feel that power once more.
singing songs with you
and trying to remember
every harmony
wringing out the past
the time we get is merciless
the moment ain’t forever
let it be infinite
while it lasts
while it lasts
:: “Smiling in the Dark” – Dryadic ::
Danielle Holian, Galway, Ireland
Bristol folk artist Dryadic new single “Smiling in the Dark” is a radiant love song that blends rootsy folk with a catchy pop sensibility. Led by the charismatic Zora McDonald, who delivers effortlessly engaging vocals, the track features Aly Rainey’s fiddle and George Pearson’s double bass, creating a lively and organic sound. Produced by Jake Skinner, this single marks Dryadic’s first release since 2021, showcasing a joyful, effervescent energy that’s both heartfelt and upbeat. The song tells the story of falling head-over-heels in love, with lyrics that capture that blissful, sleepless excitement of newfound romance. A playful shift to an offbeat rhythm and an expressive fiddle solo drive the track to a euphoric climax, while its infectious chorus is sure to have listeners grinning long after the song ends. Celebrating love with unapologetically queer themes, “Smiling in the Dark” is a feel-good anthem that highlights Dryadic’s knack for crafting vibrant, memorable folk-pop tunes.
:: “Strong” – Ace Rose ::
Danielle Holian, Galway, Ireland
Ace Rose’s new single “Strong” and it’s clear that this rising star is ready to dominate the hip-hop scene. The track kicks off with a gritty, raw beat that hooks you in immediately, setting the stage for Ace’s fearless lyricism. With roots in both Europe and Los Angeles, his sound is a blend of hip-hop’s high-energy vibe and unique European influences, creating a fresh take on the genre. Lyrically, Ace pours his heart into the song weaving introspective verses with a relentless drive that echoes the voices of hip-hop legends like Nas and Kendrick Lamar. This isn’t just a song; it’s an anthem for anyone who’s ever pushed through adversity to rise to the top.
What really sets the song apart, though, is its genre-defying production. Co-produced by Ace himself, the track’s unpredictable shifts in energy mirror the artist’s ambition. Halfway through, the beat takes an electrifying turn, lifting the song from introspective to anthemic in an instant. It’s the kind of change that makes you want to hit replay over and over. With influences from rock and the electrifying performances of artists like Travis Scott, Ace has created a track that’s not only a hit but an experience. And with his fresh perspective, unyielding style, and bold vision, his rise is just getting started, and “Strong” is the perfect introduction to a future filled with hits.
:: “Utensil” – Hannah McKittrick ::
Mitch Mosk, Beacon, New York
At a time where chaos often drowns out the quiet moments, Hannah McKittrick’s “Utensil” tames the noise within and without. Soft, seductive, and spellbinding, the Australian singer/songwriter’s first song in nearly two years is an invitation to slow down and refocus; to count our breaths, taste the air, soak up the sun, dance beneath the moon, and connect with ourselves.
Wearing ice blue and grey though I am no snow queen
Until you get in the way of my autonomy
You get weird in August fever find me anywhere
If health is ascension throw my goblet in the air
“‘Utensil’ is an alt-rock song at its most anthemic and meditative, serving as a reminder to stay alert to beauty and mystery without trying to control either,” McKittrick tells Atwood Magazine.
“It is about letting things flicker in and out of your focus. It is about loving animals, noticing the wind on the surface of the Yarra, honouring ceremony, looking at yourself in the car window as you walk by it – the only reflection that is fleeting, like you are. To come home at midnight still carrying the exuberance of the outside world with you, but trying not to wake everyone up as you come in. To identify the colour you love and then every time it enters your vision, you are given a gift. To throw things up in the air to see how they feel when you catch them. To touch and always honour its predecessor; reaching.”
I yearn to be a utensil not a weapon
If health is observation force my eyes to open
Wake at midnight cold slipping down my throat
Puppy’s crying outside do you hear it, do you know it?
Kill the part of you that says
this has to make sense…
A smoldering alt-rock slow-burn, “Utensil” causes time to slow to a standstill, with McKittrick’s emotional, achingly poetic lyrics anchoring us to the present for a brief, yet powerful instant. Her gentle voice is hot on the mic, but not hotter than her guitar’s reverb-soaked riffs; the six-string roars tenderly and with an understated, delicate grace, its tones filled with passion, fervor, and longing.
It’s not easy to tune out the world around us – distractions will always threaten to fill our time and cloud our minds – but for four breathtakingly beautiful minutes of music, Hannah McKittrick reels our souls in, pressing “pause” for us so that we may stop and smell the roses – or whatever it is you do when you’re actually in the present.
The best thing about this is the ceremony
A wave across the cavern for me is contact plenty
I am touching it’s fur I am learning it’s name
If health is a discipline why do you treat it like a game?
Kill the part of you that says
this has to make sense
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